 All right, good morning. Good morning. Good morning. Good morning. How are you all? So there are plenty of seats up front if people who are still walking in come in, grab a seat. I just wanted to say thank you guys so much for fabulous first opening day for this summit yesterday. I was really energized by both the conversations we had as a group and the individual conversations and especially by that walking tour of the theaters and the reception at the Ace Hotel. So I hope you're all in as good a place as I am. So, which is LA, which is Californian, so we're thrilled to be here. Forgot to do that. So this morning I'm actually really excited to be introducing this session which I think, I'll take credit for having planned it this way, I think actually builds perfectly on the common session that we had yesterday. This is sort of another framework that it's possible to sort of make that eye to we shift that so many people were talking about yesterday. I'm not gonna go into it too much. I'm just here to introduce the person who's gonna be running us through the next little bit of this session who's one of my new favorite colleagues. I didn't know him that long ago. But Don Howard was recently appointed as the interim president and CEO of the Irvine Foundation. And when we called up the Irvine Foundation we're talking about coming to LA. Don and all of his colleagues said great, great, fabulous, whatever you want, whatever you want, fabulous. And I said, Don, we'd love you to come and talk to the conference. And he said, ooh, I'm not sure about that. And so this is actually a success story I'll tell on myself because as I said yesterday I'm only interested in speaking with people who don't wanna speak with me. And so we got Don here. So I'm really, really proud of myself. Thank you very much. So Don, before he was at the Irvine Foundation spent about a decade I think at the Bridge Span Group where he developed the strong field framework which we're gonna be talking about this morning. And he worked with a great number of nonprofits and sort of worked with them on strategy and a number of other issues, including the Irvine Foundation had a very important hand in shaping their agenda of investing in the arts and youth and democracy here in California. So with all of that said, please join me in welcoming Don Howard from the Irvine Foundation. Good morning everybody. Let me just make sure this mic is working, we're good. Good morning, I'm Don Howard. As Jamie said interim CEO, focus on interim. Looking forward to giving the job back when we get our new CEO in place. My day job is executive vice president overseeing the grant making and the programs of the foundation including our arts program led by the wonderful and evidently capable Josephine Ramirez who we met yesterday. It was a combination of Josephine and Jamie that twisted my arm a little bit to get me up here. My hesitance came from my lack of having done work in any significant way in the arts field. But I do know a bit about field building having done this work at the Irvine Foundation now leading the work at the foundation and also having brought these ideas to some other grant makers in other areas. So I wanna share with you how we think about field building as a precursor then to hearing about the experiences that folks are having on the ground. We have an example from Mahoe, Arizona and the example from Los Angeles. And then we're gonna break into groups at tables to talk about the field as it is today and where the priorities should be from building a field and come back and have a fishbowl conversation to debrief. So that's the general arc of the conversation this morning. I wanna go ahead and just start with why I thought field building was an interesting topic to talk about. As Jamie mentioned, I've been at the Bridge Band Group for more than a decade working primarily with nonprofit leaders but about 30% of my clients were foundation executives. I spent a lot of time in board rooms on whiteboards charting out theories of change for foundations to predict out their impact to try to hold themselves accountable and came to appreciate over time that the unintended consequence of that often was to treat grantees as vendors or contractors who were plugging into a foundation's theory of change as kind of a, if you will, a puppet in a show that was being produced by the foundation. And it became clear to me that that was not the way to achieve social change. It wasn't predictable, it wasn't reliable and it wasn't authentic to the notion of the social sector innovation in communities being at the heart of what we do. We at Irvine take a different approach. We believe in field building where we support the work leaders are doing in communities, help lift up their ideas, help them coalesce around a set of ideas around a common goal, help them develop the practices to achieve that goal, help to build their leadership, help to build their knowledge base, help to build their ability to advocate for public funding to do their work. And in that way, we hope to create sustained social change. So we are the glue, we help coordinate, we play a role as convener, but it's not our answer, it's the answer coming from the field. It's the idea of leaders in the field that we seek to propel. And when I heard about what our place is trying to accomplish and the notion of creative place making as a field, very much excited me and appealed to the, really the heart of what we do at the Irvine Foundation. So happy to be here, happy to share just a wee bit about how we think about field building as a precursor then to a conversation about the field you're trying to build and create a place making. Sound good? Okay. So first let's start with the definition of the field. What is a field? We define it as a community, community of leaders. Some of them are individuals, some of them are actors, some of them are organizations that are pursuing a common goal and over time align around a common set of approaches to get that goal accomplished. That sounds very technical, probably a bit dry, certainly could have been better branded but fields are where we go for affiliation. So the place we go to find like-minded individuals who are trying to accomplish the same goals we're trying to accomplish. There are places we go for nourishment, looking for ideas and support. There are places we go for alliances, places we go for funding and other resources. Over time, fields evolve to be strong and to sustain change and to create pipelines of new leaders, new actors, new organizations trying to achieve the goal with common approaches. So, with that definition in mind, spend a moment, think to yourself what field are you a member of? Now let's just put forward you can be a member of multiple fields undoubtedly all of us are. But think of a field that you consider yourself to be aligned with, a group that you associate with a place you go for nourishment or you go for affiliation or you go for resources. Love to just have you stand up, identify yourself by, maybe I'll just take off a few fields. How many of you here think of yourselves as being in the field of community development? Stand on up. What do you thought, Jamie? Awesome. Sit on back down. How many consider yourselves to be in the field of economic development? I see a good cross-section and overlap there. How many consider yourselves to be in the arts field? Okay, well that makes my last question even easier. How many of you are in the field of creative placemaking? No. Go field. I might say this is the field of creative placemaking at the moment. And it's clear you all got the memo from Jamie last night about where we're heading. But that's awesome. But I think we would all submit that the field of creative placemaking is still an emerging field. What is, I think it's one of its greatest strengths, and we were talking about this this morning, is it is at the intersection of existing fields. If you thought about starting DeNovo, starting from scratch to create a field of creative placemaking, it would be a much longer and harder slog than being able to pull from the various fields that you're currently members of to on top of that layer, this notion of a field of creative placemaking. So I think you have a head start and I think it's powerful that this field comes at the intersection of others. So let's talk about the field of creative placemaking. Working with Jamie and Liz and reflecting on the planning work that was done for Art Place, we pulled out this, if you will, working goal. Undoubtedly there'll be much time to debate the words and time to think about the nuances, but right now we're defining the goal of the field as communities restored and animated by placing arts and culture at the center of community development. So let's work with that definition for just a second, parse it down. The outcome that the field seeks is restored and animated communities. The common approach and way of getting there that you embrace is by placing arts and culture at the center of community development. Clearly a good definition for a field and its aspiration. That goal is a long way off, but you are the pioneers who are gonna get there. And I imagine it's kind of hard to think forward to say, you know, we'll come together at some point, there'll be instead of hundreds of us, thousands of us, we'll be having a conference and we'll be sharing the successes and the proof points of the work we've done as a field. The distance from here to there is a bit long. This is, if you will, sort of a point on the horizon that we're pointed toward. But let me share a story to make that a little more achievable, maybe a way to make it a little more graspable. A little thought experiment. Imagine yourself, if you will, suspend disbelief. Imagine yourself as an educator in New York City in the early 20s, rough and tumble New York. You've been compelled by stories and your experience of the importance of education in the very early years of a child's life and how that can help set them up for a better adulthood. You've heard about this new fangled idea of nursery schools that are cropping up around the country. You've decided to bring your educational expertise to bear and you've built three of them in New York City. But the whole notion of nursery schools and early childhood education is entirely new. So you spend a lot of your time defining and communicating what a nursery school is. You don't have any resources to draw upon so you create your own curriculum. You don't know if it's gonna work. You test it, you try it and you see. But you're pioneering and innovating along the way. There's no place to go for accredited teachers. This doesn't exist yet. So you identify individuals you think are competent. You give them the training you think is appropriate and you develop them and do your best to train them. There's no public funding for your nursery schools. So you, does this sound familiar? You ask for donations or you charge tuition or admission for your nursery schools. Now fast forward to today. Folks following the news, those of you from New York know that there's a raging debate not on whether or if to provide universal preschool. The debate is how to pay for it. Now how did we go from having a completely emerging and in-co-it field of early education to this point in time? It was through the development of a strong field. Around that time in the mid-1920s, a group of educators pursuing nursery schools got together, had their first conference, second conference in DC in 1926. They called themselves the National Association for Nursery Education. That was the 20s. In the 30s, they got a hold of some public funding through WPA to fund the growth of nursery schools. In the 40s, they began to share ideas and research through a field wide journal. In the 60s, they had some proof points like Head Start to point to. In the 80s, they developed a set of guidelines to identify and credential high-quality nursery schools. In the 90s, the ranks of their associations swelled to more than 100,000. And today, we have politicians who've embraced the importance of early childhood and are making it happen through public policy. Now that's a 90-year trajectory. I think Jamie said yesterday the goal was seven. So the challenge may well be finding how to do this more quickly, but clearly the 20s are different than 2014. And this does come at the intersection of existing fields to draw upon. So how will we know when we get there? We use something at Irvine that we call the strong field framework. It's probably the worst branding in the world. Nobody really wants to pick that up. But it's the definition of a strong and lasting field. And we put forward that it has five elements. First, a strong shared identity. This is clarity around what we're trying to accomplish and alignment around what we're up to. That's supported by a knowledge base, the kind of R&D you need to support your work, and by a pipeline of leadership and importantly, grassroots support that is the fuel, if you will, for the movement, for the field. The last two, standards of practice. A set of approaches that are proven and adopted and used consistently through the field. Lastly, funding and supportive policy to get it to scale. So we use those five components when we do our work to assess where are we on each of these components and how should we, in the modest role we can play as a foundation here in California, invest to strengthen the components of the fields we work in. And we don't, in our work at least, try to build all five simultaneously. We don't think all five are equal at any given time. And we don't think we know best about where to place those bets, but rather we do a lot of work with the leaders in the fields we work in to understand their priorities and how we can make investments to support their work. We're gonna have a little exercise like that today to elicit from you some ideas around priorities within a couple of these areas. But before we go there, let's hear about how things are today. Let's get a sense of how things are on the ground. You all know your experience. We asked two projects to share theirs. The first from Ajo, Arizona, and the second from here in Los Angeles. Let me invite Tracy Taft, Executive Director of the International Sonoran Desert Alliance. They're working to preserve and enrich the environment, culture, and economy of the Sonoran Desert to come up as well as Chris Beck, Senior Projects Advisor at the U.S. Department of Agriculture. And they'll share what they're doing in Ajo, Arizona, what they're trying to accomplish, the progress they're making, and importantly the barriers they're confronting and where they're getting the resources to do that today, from what parts of what fields and where the gaps that they need support from. Take it away. Tracy and Chris. Do I have it back? Oops. Oh, we're at the very end. Sorry about that. You're getting a preview. Sorry, that helps me. Good morning. It's just such a pleasure to be here. So where is Ajo, Arizona? Why can't I make this work? There. So we are kind of in the middle of millions of acres of Sonoran Desert that looks like that. So you drive for a couple of hours through this beautiful country and get to our little town. That's what it looks like when you're coming into town. This is our town center. So the red roof buildings on the bottom left of the screen are the Curly School campus. It's a seven and a half acre old public school campus. And then there's a wide avenue. And then up in the right top is the town plaza. And it's another seven acres. It's actually the whole semicircle of buildings that you see. So we are a tri-national nonprofit. We're located out here in the middle of the desert. We used to be a copper mining town. Actually, we used to be three separate segregated towns, Indian Village, Mexican Town, and the Ajo Angla town site. Our goal is to use the transformative power of the arts to revitalize this entire town center, all 15 acres of it and the economy. And at the same time, always to be bringing people together across these deep and old ethnic and racial divisions. So we began, I'm gonna do a very quick overview of the whole project. And then Chris is gonna talk some about the funding mix and then we'll talk a little bit about results and measures and wishes. So we began here with the Curly School. And we, at that time, we didn't have any sense of field. We started around 2001. And the only people we knew to talk to were ArtSpace. And so ArtSpace helped us figure out how to turn this into 30 live-work units. This is a typical apartment. About 1,000 square feet, rents for $400. This is how we're getting artists to Ajo. And this is the performance venue. It's an indoor-outdoor venue in the school. So that's what we have to work with there. We leveraged the developer fee. We earned a large developer fee by being our own developer on the project. And we purchased our town plaza, which was quickly going downhill. So this is from the back of the plaza, looking up at the Curly School. And this is what the buildings look like, ringing the plaza. They're arcaded Spanish-style buildings. Built in 1916 to 1940 and not improved since. So this is our current project. So now we're moving back to the back half of the Curly School campus. And we are turning this elementary school courtyard into an international retreat center for artists and creative gatherings. This is, we don't have a finished room to show you yet, and we didn't have a wide-angle camera, but this is what the rooms will look out at in the back. These are, again, old school rooms with huge windows. This is our work crew. It's taking longer because we developed an apprenticeship program, a DOL registered apprenticeship program, to kind of keep the skills, skill building in Ajo and the money in Ajo. And this is Congressman Grahova visiting the program. Similarly, we took the big empty space in the center and worked with our local center for sustainable agriculture, accessed USDA grant, and developed an internship program for young people to plant these gardens. So it's a working farm garden in the center. Chris. So I'll just sit, that's okay. I wanted to sort of talk a little bit about the funding that Tracy's received, which she knows more about these than I do. And you can see the list, I won't go through them all. I think we just want to illustrate to all of you that the federal and state government can be, should be your partners in building this field philanthropy alone is not going to fund your projects in a sustainable manner. And as you can see here, Tracy's done a fabulous job really above and beyond the call of securing mostly federal money from numerous federal departments, including transportation grants and USDA's business grant programs, NEA of course, a lot of money from HUD. This is the type of work it's gonna take to build the field is determining what sources of grant and loan funds are out there and then putting in the hard work to apply. And as Tracy will tell you, it's sometimes painful. And sometimes once you get the money, administering it probably is more, sometimes more of a hassle than you'd like. I had a conversation with someone about that yesterday. But I think as we talk about building the practice, you as social entrepreneurs in the arts world are gonna benefit by going out and securing these kinds of funds. And then it helps the government. When the government sees arts organizations applying for and receiving these monies for creative placemaking projects, slowly over time, federal state programs will probably evolve too to start seeing themselves as funding creative placemaking projects. I don't think when Tracy applied for these grants, mostly what in the last two years? Two or three years? It's a fair amount of money in the last three years. But the agencies that are making these grants aren't necessarily looking at AHO as a creative placemaking project. But as more of these projects mature, or as this project matures, I am almost certain that these agencies are gonna start thinking, wow, that was a creative economy and art or a creative placemaking project. Maybe we should be doing more of that because of the impact she and many of you are having in your community. So that, again, it's part of your role of being the emissaries for this practice. You will, by applying and receiving funds, you will be changing what federal and state agencies are doing and how they're looking at their programs. Is that okay? There's one more. So this last is going on currently and is a particularly creative mix, I think. When we started, we really didn't know how to mix up the funds. And so we had different sources for different kinds of things. And now they're mixing really beautifully. So in a rural community, you kind of have to be involved in everything. It's not that we're megalomantic, is that if we don't do it, nobody will. But I think it's important that even though this is a rural project, this is a model for urban projects as well. And this isn't, we all have to be doing this and looking for these sources of funds. Yes, agreed. So how do you look at the results and how do you measure vibrancy, the word that we've all been kicking around? This is how we measure it. None of this was there when we started. So as for the numbers, you know, when we started this work, there were four annual festivals in Ajo. Two of them had moved out of the town plaza. So there were only two in the plaza. Today, this last year, there are 32 events including six, plus six major festivals and they're all in the plaza. And I guess maybe the best news is we only sponsor a couple of them. So the town has really stepped forward. More and more events are coming. The plaza businesses have organized and do a big under the arches event. So hopefully this will just keep growing. And so that is the social cohesion that's happening. Almost all of the events, really all of them are multicultural whereas they weren't in the past. We put the Tanatam Nation's art and culture in the front whenever we can because they were sort of the most discriminated against in our town and its history. And then secondly, Mexican art and culture. We have economic results. We have 30 work artist units with 35 artists, many new to Ajo, many operating micro enterprises. We have 12 new businesses in the Ajo Plaza. We have 17 new jobs that have been created in the plaza. And we have 10 apprentices getting on the job training. So just from what you've been looking at, those are the numbers results. Our challenges, clearly we have the challenge of completing the renovation work both on the Curly School campus and in the plaza. The plaza is especially tough. And our other important challenge is attracting more young creative people to Ajo. So we'd really like some help with that. Our wish list. Well, and it's a great opportunity, a rural community. You can have a very responsible job with next to no preparation for it. So it's true. It's true and that pitch works. We have some nice energetic young leaders. Our wish list includes, of course, grant capital for facilities renovation. I think we'll always be hungry for that. Although the end is in sight. We are really looking for a low interest loan to replace debt that we have at 6.3%. In light of yesterday's pitch of what do we have to offer? We have six years of proven payment record to offer and good character. And we are really intrigued. Really, Chris had this idea and offered it to us about six months ago that we should find partners and co-market. So we have been talking with John from Lanesboro where things shut down in the winter and they kind of shut down in the summer where we are about how we could co-market both products and residences. And we would really like to work with others of you around this idea of co-marketing. I think that there are so many ways that we could be helping each other economically and tangibly in the field that we're just kind of not taking the time and energy to do. And then I just thanks for this networking opportunity. I think more things like this or site visits to each other's organizations are what really help us with new ideas, new partners, so forth. Jason, please step down. You mentioned in our call the way you had been able to get knowledge, resources, and ideas from other parts of the country. Oh, yes. And this is how you accessed the field through sort of informal channels or folks who were in other fields. Can you share a few thoughts on that? Yeah, well, we were lucky to become part of Lynx Initiative and then the Ford Foundation's Supporting Diverse Art Spaces Initiative. And what both of these groups did for us was connect us to other creative organizations all over the country struggling with things like we were. And we just learned voraciously from all of them. We have visited one of their sites. I was just in September up in Seattle visiting Wing Luke in order to learn how to do community curating. Angie at Makwa taught us how we had to do things like have collateral materials. We didn't know that. We were coming from a community development background. Everything we did had arts at the center, but we didn't call ourselves an arts organization. We didn't really come from the arts background. We didn't know art speak. So yeah, thank you. Next, let's get a glimpse of the LA Promise Zone, Dixon Slingerlend as Executive Director of Youth Policy Institute. Successfully partnered with the city of Los Angeles to secure a Promise Zone designation for Los Angeles, one of only three cities in the nation to do that announced by the president earlier this year. Dixon's joined by Abigail Marquez, Associate Director of Education and Workforce Development in the office of Mayor Garcetti here in Los Angeles, responsible for the construction, development, delivery of policy and strategy to meet the mayor's education and workforce development priorities. Take your way, Dixon. Good morning and welcome to Los Angeles on behalf of the mayor, right? Absolutely. Welcome to LA. So I just wanna give a little, I think we literally have only this slide. There you go. So there will be no clippings. So just to give some backdrop on, so the Youth Policy Institute, YPI, we work across Los Angeles, 125 program sites in the city. Many of them are school-based sites, a lot of education-based programming. We run schools, we do after-school programs, we do job training, family centers, youth centers. We've taken this approach of really sort of a broad swath of programs to try to address fundamental issues like poverty, success in educational outcomes, sort of those key outcomes that I think a lot of us care greatly about. And for many years now, have had a place-based approach to our work, which has had various names. I think 10 years ago, we called it a saturation strategy and it evolves over time. But the notion being to take distinct geographies in LA, for us it's three communities in particular, Pacoima, Hollywood and Pico Union, and really just try to bring in every conceivable resource in a coordinated, strategic way to try to transform communities, transform schools, and again, see and do fundamental things like fight poverty. I mean that's in the end what it comes down to for us. But obviously there's a lot of components that go into that. So when then Senator Obama, when he was running for president, announced in 2007, if I get elected, I'm gonna do this thing called Promise Neighborhoods in 20 cities around the country, modeled on the Harlem Children's Zone in Jeff Canada's great work. We were really thrilled. And that began a journey for us now seven years later, of really working closely with and pursuing these opportunities coming out of the White House, around place-based approach to fighting poverty. So the first that rolled out was Promise Neighborhoods. We got a planning grant in 2010, so four years ago, which then led to a $30 million implementation grant from the U.S. Department of Education about a year ago. With Promise Neighborhoods, we're targeting 19 schools, two communities in LA, Pequima and Hollywood. The Hollywood part of it is at the top of this boundary you're looking at here for the Promise Zone. And you're down sort of at the bottom, left there in downtown LA to give you a sense. And so we've embarked through Promise Neighborhoods on a very ambitious effort to working with more than 40 partner agencies that we are sub-granting funds to as part of the Promise Neighborhood, to really try to bring together a coalition that's gonna work together and address these issues. And I just wanna mention that arts is a critical piece of this strategy. So arts organizations that are receiving sub-grants through the Promise Neighborhood include ArtWorksLA, CreateNow, LASER, Actors Gang, and Unusual Suspects are doing theater programs with youth in the Promise Neighborhood. We've also got the Harmony Project and Youth Orchestra Los Angeles. YOLA's tied to the LA Philharmonic, Gustavo Duramel, and Elsa Stemma. So we've got this great array of groups, including arts and cultural organizations working in the Promise Neighborhood to try to change outcomes. So this then led, so 2013 into 14 was a really exciting year. The White House has three signature neighborhood revitalization initiatives, Promise Neighborhoods, Choice Neighborhoods, which is housing, and Burn Criminal Justice, which is focused on public safety. So in 2013, we were awarded the other two, thus becoming actually the only nonprofit in the country that had all three White House signature initiatives, which is really cool. And that then led to this opportunity working with the city, with our dynamic mayor, who has been a big champion of these approaches even before he became mayor in July. He represents, as a city council member, represented the top part of the map you're looking at. So we had the chance in November to apply for a Promise Zone. Back in the State of the Union last year, President Obama announced, I had these first term initiatives that I just mentioned, Promise Neighborhoods, Choice Neighborhoods. For the second term, my focus is gonna be Promise Zones. The notion here that we need to pull all of this together in a cohesive way. We're not just gonna do education, we're not just gonna do housing, we're not just gonna do public safety, we're not just gonna do arts. It all has to be part of one strategy for fighting poverty. And so he downstate the State of the Union last year, over the course of the year, they rolled out the competition. And as Don mentioned, we were just thrilled in January when the president announced at the White House, the mayor and I were there, it was really exciting that there were five, the first five Promise Zones in the country, of which only three are in cities. So it's us, San Antonio and Philadelphia, then there's a rural Promise Zone and a tribal Promise Zone. So we're now just a month or two into this very exciting designation as a Promise Zone. And do you wanna talk a little bit about it? What it means to you? Sure, so I'll start by saying that I was not in D.C. with Dixon and the mayor, but we did host a very dynamic viewing party at City Hall because it really is an exciting opportunity for us as a city to be designated as one of the first in five in the country. We have been told that there'll be 20 Promise Zone designations in the next couple of years. But it is an exciting time. I think it is also because it builds on, we have a new mayor, as Dixon mentioned, Mayor Garcetti was sworn in in July of 2013. And for the first couple of months, he did spend a lot of time laying out his foundation, what will be his priority, what will be the priority outcomes and goals for his administration. So he was already setting a tone at City Hall in terms of really trying to break government silos and helping city departments really think more strategically about how we would coordinate resources and work more efficiently together to address issues such as poverty, address, you know, create more jobs, create a more sustainable city in Los Angeles. So when this opportunity presented itself, I think what we did first and foremost is we quickly came together as a city, which was really remarkable. We brought in over nine different city departments to help us write the narrative. The Promise Zone has 90 partners that includes nonprofit organizations, it includes the business community, philanthropy, and of course our city departments. What does it mean to be a Promise Zone? For us, it means, again, it's a 10-year designation that started in January of 2014. It does involve a technical assistance team that will be deployed by the federal government to help us, again, continue to think more creatively and how we be more efficient in the way that we deliver services to our residents, how we leverage federal and state funding to augment services for our residents. And then lastly, if enacted by Congress, which we hope it will pass, we'll be able to access business tax credits for businesses that either hire or invest within the zone. So there's a lot of potential, and I think what the mayor says a lot when he talks about the Promise Zone is that this is one model that he wants to replicate in other parts of the city. So he talks a lot about if we can pull this off within the designated Promise Zone, I think that it will show the country that we can replicate this model in other parts of the city and other parts of the country. And one of the key things about the zone, and so just to give you a quick sense here, basically you're going from Hollywood over into Tytown, Little Armenia, down through Koreatown, and then into Pico Union, Westlake, MacArthur Park, which is a very high Central American population. So it's very diverse. It's really kind of a snapshot of LA. It's 165,000 residents that live in the zone. The poverty rate is 35%. Even in Hollywood, the poverty rate is over 30%, which I think a lot of folks outside of LA aren't aware of. And so we've got high poverty, we also have high density. This is the densest part of Los Angeles, by far, that's being targeted. So it's a really interesting area in terms of what's going on within the zone. And I think, as Abigail mentioned, getting this competitive preference for federal funding streams that are aligned to our strategies really could be the thing that sort of triggers the transformation of this area, whether it's economic development, housing, commerce, transportation, public safety, yep. Really across all the federal agencies will have this competitive preference when we compete, including USDA, doing us for work around healthy food options and things like that. And I also then wanted to just bring it back a little bit to the strong field framework, because this is sort of so critical to doing this kind of work. And I guess actually you have that slide with the four things, but as that would be, oh, I've got it. But I don't know how to get to it. Did change decks? Change to the other deck, please. And while they're doing that, so I'll just start with the shared identity part so then we can see the other boxes. But so the shared identity, I think that's kind of clear. We're trying to transform a specific community. We've all aligned around this common purpose of how do you turn around a neighborhood? How do you reduce poverty in a given geography? And the promised neighborhood approach is cradle to college and career. So it's everything from when a kid is born to getting through zero to five, to getting through K-12 and then going to college and career. On the standards of practice piece, so we've basically, everything that happens within the promised neighborhood that will happen in the zone is research-based practices. So this is about identifying those approaches that have been proven successful, that we as a collaborative, and again, the promised zone has 90 partners, the promised neighborhood has 60 partners, that we as a collaborative have determined our best practices for moving the work across a wide range of issues. And then it's about the technical assistance, not just from the federal government supporting us as we do this work, but how can we support grassroots community groups within the promised neighborhood or promised zone to really fully play their role and live up to their potential in this collaborative. So whether that we can support them in identifying funding and going after that funding that they might need to be successful, whether we can give them a sub-grant through promised neighborhood to support them, or whether we can provide technical assistance and professional development around how do we all do this work better and access the resources that we need. On the knowledge base piece, this is really critical to the feds and to our work. In promised neighborhoods, we have 23 indicators. And that's it, everything we do is about those 23 indicators. Every partner that we bring on needs to have an impact on one of those 23 indicators. And we have a data system called efforts to outcomes that really allows us to track those 23 indicators by youth, by individual youth and by family unit. So we know if we're being successful on those indicators or not. And we know which inputs are working and which inputs are not working. And so you've got to have that data system, this absolutely critical that you don't in the end know what you're doing. And you've got to have agreed, in this case, these 23 indicators agreed as a collaborative, these are the things we're going to change together in this neighborhood. On the leadership grassroots support, I mentioned that we have a lot of partners we have, as Abigail said, everyone from grassroots organizations to the Chamber of Commerce, the United Way, the mayor, the county, the superintendent of the school district, all working together again around this sort of common strategy. And then the funding and policy piece, which in the end is sort of the big picture on this, because if we don't get the systems change that comes out of an effort like this, then it's just become sort of this one off that we did in the promised zone, but the rest of the city or the rest of the state doesn't get the benefit from it. We have a great group called LA and Sink, led by the Annenberg Foundation, which has pulled together sort of foundations and philanthropy across LA to support these kind of efforts. Obviously we've got the public sector very directly involved, federal agencies now through the promised zone, sort of directly interacting with the work. And then lastly, we're working on a piece of legislation in Sacramento that would do for the state government what has happened at the feds with Obama and what has happened locally with our mayor and begin to align across state departments. So I think there's a lot of really exciting stuff going on around this and the strong field framework here for us. And I just had one example that I'll close with. Do you have anything else you want to know? Just one example I want to close with of a project we're doing that I think is really aligned to today. So the city and YPI through the promised zone are partnering with Art Space, the Actors Fund, to create a distinct arts district within the promised zone. So this would be a $50 million affordable housing project for artists, which would also include space for nonprofit arts organizations, studio space, space for creative enterprises, incubators within the same piece, looking now hopefully at a site in Hollywood within the zone for this particular project. And so this would be the first of its type in LA but modeled on successful projects that Art Space and the Actors Fund have developed across the country, and research has shown that these projects help artists become more stable, more productive and earn more from their artistic work, as I'm sure you know. But they also help neighborhoods become safer. They create new economic opportunities and they attract complementary development without displacing residents. So this is an example of a project that we can do in the zone that we can help facilitate in the zone with great partners that can achieve a lot of really cool things in addition to turning around the community, which is fundamentally what we wanna do with the promised zone. We have a minute or two before we're gonna take the next step in our session. Would it be possible for the two projects to reflect back one or two things that are the biggest gaps? As you sort of think about those categories that we've laid out as a strong field, and maybe we should just take funding off the table because it's so frequently the biggest gap we all confront in the work we're doing. But as you think about the creative, place-making aspects of the work you're doing, what's most missing for you right now? What are the priorities that you can't quite access yet? Well, I'm not sure this quite responds, but when we started the Plaza Project, the economy tanked. I mean, it was immediately thereafter. And so we have stimulated creative businesses to come into the Plaza, new businesses, whether they're culinary or artists, selling their work or selling other things. And that's all very exciting, but I'm thinking more and more that the concept, it may be off, and that what we should be thinking, this is very exciting to me, is that maybe we have one of the largest anywhere, business incubators and job training centers, driven by the arts, but fueling the local economy. So there are so many questions in how to think that through, whether that makes sense, if it does, what sorts of changes would be entailed that that's just a concept and an idea that may make what we're doing succeed, we would love assistance in figuring that out. I think that's a field question, it's not. One part of that is knowledge you could draw upon to learn from others and others might be someone to help with the research that might be involved to determine which direction best to go. Correct. Chris, did you have anything to add? No. Dixon, what's your biggest gap? So I think it's the challenge of how do you do this work with a large collaborative? Because you need the collaborative. I mean to do something like cradle to career, you've got to have a lot of folks at the table. We don't claim we can do everything, the city doesn't claim they can do everything. But it's a lot of work and it requires a lot of support for the partners in the cloud. So for example, the Promise Zone, we're gonna have this competitive preference for federal funding, which is great. And theoretically all the nonprofits in the zone that are partners can take advantage of this. But without sort of the technical assistance and support in terms of applying for federal grants, the folks who haven't done that before, how do they develop the skills and capacity to do that as a grassroots organization so that they can sort of fully take part in the zone. As well as how do we share data across 90 different agencies? It's all going into one data system, but how do you do that in a smart, strategic way that's not threatening to folks who have not ever had to share their data before in a collaborative setting? So I think it's all those things around how to make a large collaborative function better and provide it with the support that it needs. I think the only thing I would add is because the goals of the Promise Zone are really to transform, to stress community and to communities of opportunity, I think it's for us, the challenge continues to be having the shared identity across these other large systems that are integral to the success of the Promise Zone. So the city, the nonprofit community can do it alone, but the city can't do it alone. We need a strong partnership with our county colleagues, our county counterparts, the school district. So I think we're absolutely making progress in that direction, but that continues to be the challenge is how do we leverage each other's resources so that we really are truly much more impactful in how we address these issues of social impact? I'm really inspired by your two projects, which are awesome. But also I think the illustration, using them to illustrate the notion of how you brought the strong field framework together at the local level, but also where there are gaps and how that sort of notion of a field can operate both at a local level and at a field level. So we heard yesterday from the marketplace conversation, is that the comments conversation, excuse me, the two of the topics that seem to sort of bubble up in the conversation that were missing components or priority components for the field of creative place making were the knowledge base and leadership. So what we thought we might do next is sort of adjourn to the tables behind us. There are 20 folks in the room who are table leaders who should have on the back of their card a number. Hopefully you know who you are. If you could get up and go to the table that has your number, that would be a good first step. And then we're gonna ask everybody else to join those tables. And what we're gonna do with the tables for too much commotion is we're gonna have half the tables discuss the knowledge base around creative place making and half the tables discuss leadership and grass root support as the topic and delve into some of what's there today, where the gaps, what are the priorities. And make this a little bit more fun. We're gonna go for 30 minutes, but for the last five, I'll call time in about 25, we're gonna ask you to tweet from your table two priorities for strengthening the component you've been talking about to hashtag art place and hashtag field. And those tweets will be running up on the screen here so we can get a sense of what ideas are germinating or bubbling up from the table conversation. So half the tables are knowledge base, half the tables are leadership. Feel free to join whichever table you can make a space at. And at 25 minutes, I'll ask for you to do some tweeting. Thanks you guys. And if I can get everybody's attention for one minute, tables one through 10 are doing leadership and 11 through 20 are doing the strong, the, I just blanked. What was the other one? And the knowledge base. Sorry, 11 through 20 are doing knowledge base and leadership. Sorry, I'm so sorry. One through 10 are doing leadership and 11 through 20 are doing knowledge base. Hello, okay, great. Okay, we've just got about five minutes left. So if from your table, if you could identify one or two ideas or priorities for your area, knowledge or leadership, tweet those to hashtag art place, hashtag field. So once again, one or two priorities for your table. Hashtag art place, hashtag field. That's right. Okay, please take just one more minute if you could. Put those tweets together. Hashtag art place, hashtag field. Two top priorities, two top ideas from your table. Hashtag art place, hashtag field. Okay, if you guys could conclude your conversations and come back to the theater seating for just the last portion of the session this morning, get in those last tweets. Come on back. Did that go well? Okay, if you could wrap up your conversations and come on back to the theater seating, we'll take the next step. Julia, come on up. Oh. If you could all come back to the theater seating, we can conclude the session. Folks who come on back to the theater seating, we're gonna get started with the next part of the session. Let me turn it off. One last call for folks to come on back to the theater seating and we'll continue with the rest of the program. I know. Hey, how are you? I thought you'd see, but I didn't know where you were. I didn't know if you were in the office or if you were actually here. Exactly. It was excellent. I just want to say hi to the other guy. All right. Hi. Hi, everyone. Hi. Hi. Hello. Hello. Hi. We're gonna get started. And I think we're just waiting. Beth Nordland and Teddy Cruz, if you guys could join us up on stage, Beth and Julia. Beth and Teddy. Are you guys around? All right. And I think, let's see, Beth Nordland, are you in the house somewhere? All right. So welcome back, everyone. We're gonna do a quick one, two, three, four, five. Who are we missing? Excellent. Excellent. So welcome back. So this is slightly off script, but I sort of believe in unusual indicators. So I think one of the best indicators that we may be perhaps becoming a field is that while we were in that session, I received an email that reads, Good morning, Jamie. I am the owner of the domains creativeplacemaking.com and creativeplacemaking.org in order to raise capital for new projects, I've decided to sell the domains. So if anyone wants to own the domains for a new field, we've got that. So all right. I'm joined up here on stage by six of our colleagues that were part of the conversations out there. The other colleagues will sort of join us tomorrow at the town hall and also do some reporting out. But I don't want to do too much talking. I sort of would like to hear from you guys about the conversations you had at the table and the themes that you sort of heard teased out around leadership and around knowledge, sort of what we have, where are we strong and what do we need. So I think we're roughly half and half between leadership and knowledge. So why don't we start down at the end with Eric and will you just say two words to introduce yourself and then give us a little flavor of the conversation at your table. Sure. Good morning. My name is Eric Takashita. I work with the local initiative support corporation, which is a national company that supports community development and I do a lot of work around arts and culture and how it can be used to build stronger communities. I was part of a conversation about knowledge building and this idea of how do we build the field and there's two things I'd share. One is this idea of there's a lot of information and great resources that have accrued at a national level but how do we start to push that down into the local environments so that local folks on the ground can actually leverage some of that information. One and two is how do we also start to build learning communities within local environments so that we can learn from one another. So actually within our communities we can build a stronger community and actually learn from one another as we move forward. The other piece that I mentioned we would say we also talked a little bit about there's a lot of great anecdotal stuff out there, right? So we talked about how in Cleveland there's this great story about sheep and how the sheep view apartments now are even better than the lake view apartments, right? And then there's like on the other end of the spectrum there's ETO, which is this incredibly powerful database that they're using in the promise zones but is super expensive and really hard to implement and so how do we find this place in between the story about the sheep and ETO that can totally assume an organization? That's great. Julia, do you want to introduce yourself and pick up from there? Yes, thank you. Julia Taylor, we've done creation trails and I think I'll echo a little bit of what Eric said. Hold on. Can you guys hear her mic? No. No mic? Try again. Okay, can you hear me now? Come on up here. All right. We'll do it the old fashioned way. Okay, great. Well, actually I want to echo a little bit of what Eric said. Part of what we talked about was the, because it's everything creative place making is it may, in some people's minds it cannot get defined in any way. Somebody said because it's everything to everybody, it's nothing in the end, that we need to come up with a better definition of creative place making, maybe even the terminology to a certain degree is working against us. But the other piece that we talked about then was how would we look at it in terms of the sustainability of a field in terms of looking at research and part of the discussion was looking at developing curriculum for students around creative place making, particularly within the different disciplines. You can tell that you're making a difference when you're actually impacting policy. Actually Prima Katari Gupta talked about the fact that in Philly you see municipal leaders make different decisions around it. We also talked about the magical moments of change and I think it was Brian Corrigan that used that about when you get the moment where people see underused assets in a new way, he talked about projecting the potential of an opera house in a, just a projection of it in the downtown made people believe that it could actually happen. So part of the question is in research, how do you measure this paradigm shift from early adoption into practice? And then how do you measure that connection of place and culture? Alright, just moving on down the line. Alright, Eric Robertson with Community Lift from Memphis, Tennessee. We are a local community development intermediary. We are involved in a comprehensive approach that ranges from everything from economic development to creative placemaking to community organizing. At our table, which was the conversation was about the knowledge, there was a real conversation about the need for developing a network and kind of mapping out that network within the field of creative placemaking, understanding who is doing work related to housing, who is doing work related to education, so on and so forth and having that accessible to everyone within the field. And then one of the great ideas that was suggested just as a kind of a possible immediate thing was a closed Facebook page where we could have access to one another and share information as practitioners in the field. And then the second kind of leading thing that we came out was this idea of an exchange of best practices but not only just in terms of some websites you can go to but where you may can visit another city where you can possibly kind of be immersed in that work of people who are doing related work and have been doing it for a longer period of time. One of the big conversations was around many of the people at our table were new to the work and so they were reaching out trying to find others who had been doing the work for several years and then trying to make contact to possibly go visit or develop some mentor-mentee relationship with them. So those were our two top things, network and then some exchange mentor-mentee relationship with everyone and then mapping out the field. That's great and I just, a quick straw poll. I've heard a lot sort of yesterday and today about the need for that sort of how do we connect with other people to sort of exchange online marketplace networking kind of ideas but the fact that we need it with a human touch we need a curator to help make connections. Is that something that sort of folks generally, is there sort of general consensus in the room that it would be useful for someone, some entity to be able to say, you know, Bob, you need to meet Shirley, Shirley, do you know about what Dan's doing? Okay, all right, excellent. Thank you, all right, Teddy. Hello, can you hear me? Yes, my name is Teddy Cruz. I'm Professor of Visual Arts, Professor of Urban Ecologies at UCSZ, Dr. Farkov here, researching the border conditions with Juan San Diego and I'm here, Professor Mejla and I are working with MATLAB in the new space in San Jose. Let's see how I can translate the intense conversation we had at our table. One thing obviously is that I was leading or facilitating the table, having to do with leadership support and obviously one aspect that came up in the beginning is how we need to blur obviously this category because the new leaders I think in our field are those who might produce new forms of knowledge that facilitate knowledge transfer from institutions to communities or from communities to institutions to within the political today. So one first topic, in terms of leadership support, was exactly that. We need more practices, emerging practices. This task is to integrate what has been fragmented, a kind of transversal curatorial project that can convene knowledges, resources and policies. This transversality is needed because obviously one particular phenomenon today is the fragmentation of silos and the need for producing new types of, the kind of summoning of these fragmented institutions. The second piece. Teddy, hold on for a second. Yes, just to take a few minutes. Thanks. Yes, we were referring to the fact that some of the most interesting aspects of leadership have happened in Latin America in cities like Medellin or Bogota where in fact that possibility of producing new platforms that convene and that curate transversality across institutions and communities producing a new mediating kind of process between the top down and the bottom up is essential for this new leadership. The second point had to do with engaging and what you have been talking a lot Jamie about is this, we cannot continue to preach to the choir as they say but we need to produce new conversations in fact with those who do not listen. And so new leadership today would imply the construction of a new set of strategies to infiltrate ourselves into those sectors who might not consider art and culture as a primary kind of engine for rethinking many issues not only economy but citizenship itself and so on. So that obviously would open up a variety of topics. What would that language might be? What those strategies could enable? The other topic was obviously leadership. Let's redefine it and I think that it is really about taking risks. I know that that sounds awfully rhetorical but let's begin there. How do we speak not only of the strengthening the field by just talking about what we do already well but in fact how do we expand the field? How do we contact many of the other domains that have been peripheral to our practice? Artists as developers, artists as policy makers, many other types of roles that can be taken. In this case also somebody at the table said well yes, while it is about expanding the field, other ways of practicing, it might be that those are simply creative detours that enable us to contact what has been absent from the conversation only to return to the specificity of our practice or our field. In essence it is about playing this double role of disciplinarity and interdisciplinary in a way because many times we speak about expanding the field might imply that we are getting away from art and the primacy of art but in fact we are just contacting other methodologies and procedures just to come back to art itself and advance the culture. Finally, sorry, this is a third point. The fourth, new zones of research. I think that somebody at the table measured leadership with enabling new forms of measurement and evaluation. That not everything can be quantified obviously in terms of success but that foundations and many other entities could also take equal risks in enabling processes and so doing identifying new zones let's say of opportunity and research to dispel of somebody at the table said to dispel the myths that have been created around. And the final point, where are, I took the questions that you gave me very clearly, where are those leaders being shaped today? And it was an interesting question. Some people mention people like Theaster Gates for example and producing exemplary modes of practice that begin to do exactly what we said in the beginning, the integration of fragmented domains so that he's producing interesting political language that has enabled him as an artist to speak in the economic forums and initiatives of development. Or Rick Law obviously that opened up the idea that an artist can in fact be a developer of housing. So in that sense a lot of the most interesting leadership today has been founded in practice itself. Some practitioners who have in fact taken upon themselves out of being completely pissed off with their own context to produce new methodologies and therefore enabling foundations to recognize these other sectors. So I think that that is a question and to finish maybe is that, that maybe the future of this, how to form new leaders would depend obviously in the formation of new platforms that obviously foundations and institutions can promote to really engage this variety of issues. What do we mean by public space? What do we mean by our practice need to be supported? I love that. Let me ask a quick easy question and a quick difficult question. In terms of the research piece, how many people in the room identify themselves as researchers? So I think that's an area where we as a community need to make some more investments and make sure more of those people are in the room. Number two, how many people in this room consider yourselves to be leaders of creative placemaking in this country? It's great to see that many people comfortable taking that on. Sorry, because one person at the table mentioned something about the production of new conversations that can be organized around very pressing issues. So when we think, for example, of public space or placemaking, we tend to give priority to issues of beautification and not to really rethink public space as a site of knowledge, for example, or knowledge production. So as we reorganize the conversation and produce new interfaces across sectors, we are also producing new political language that demystifies what we've perpetuated as a definition of certain categories. That's great. Thank you. Beth. I'm Beth Nordland and I'm from Anchorage, Alaska. I run a non-profit there called the Anchorage Park Foundation and I'm one of those non-traditional partners in the room for creative placemaking. We have an art place grant to create vibrant places in our parks and on our trails in Anchorage. So I'm new to a lot of the language that is in this room, but my organization builds community through our public spaces and our parks. So our table pushed back on the idea of a field when we were talking about knowledge. We started very strongly saying that our knowledge is right now in silos and that if we create a new field, we will create a new silo. And so we want this to be a movement, more of a movement and less of a field. In order for the authentic placemaking, the knowledge is in the community and there's no formula for creative placemaking if it's going to be authentic and local and our knowledge comes from the community. We talked a lot about being lateral. So not top-down and not grassroots, but more lateral using intermediaries, facilitating, convening, cross-sector collaboration. I think that's fabulous. And for anyone following along on Twitter, there's someone I think a lot of people in this room know, Ann Gadwine Nicodemus, who's a researcher and who also organized one of the viewing parties I think on HowlRound, and she tweeted that she's especially interested in this notion of the benefits. What are the pros and cons of the field framework and is it possible to build a field without building a silo to sort of stick with an agricultural metaphor, I guess. Yeah, so, all right. I was proud of that. Colleen. Is that on? I think so. Okay. Colleen Shih, I'm director of Plains Art Museum in Fargo, North Dakota, which is right across the Red River from Moorhead, Minnesota, and we really do work across the borders. We are involved in... The museum really... Just go back since they didn't hear the beginning. Just redo your intro. Oh, okay. Colleen Shih, director of Plains Art Museum in Fargo, North Dakota, which is right across the river from Moorhead, Minnesota, so we're by state, by urban, by polar. That was good. So, we're really trying to mobilize the museum as a leader in the community to think about creative place making and community engagement and to get out of the building because museums have been so place-based in their buildings and galleries. So, we're with the support of Art Place, and we also have an NEA Art Works grant. We're supporting three artists designed garden spaces in one in Moorhead right now and two in Fargo. So, in our group, I would say maybe three points. One was our own leadership. Many of us are working at, you know, the frontier and the stretch point for ourselves, which is where a lot of us like to work because otherwise, you know, why do it? It gets kind of boring just to repeat and repeat. And so, how do we really build up our own leadership and our own knowledge base? And this is a great opportunity to do that. How can we continue to foster these conversations within and outside of our community nationally? We talked about access to leadership, both from the, I don't know, I hate to say top down and bottom up, but different forms of leadership. With creative place making, we do need to have relationships and have leadership at the level of elected officials and some people talked about the mayor being a critical advocate and how do we develop their knowledge base in this area, but also within communities. Some people talked about working, wanting to work with the community in the neighborhood, but a lack of infrastructure within certain groups of leadership. There weren't community organizations that made it more accessible to connect with communities. We talked about having the stranger coming to town. I don't know if it was you, Jamie, or Rip yesterday talking about how effective it can be for a leader to come from outside our community and meet with the mayor, meet with commissioners, meet with community. That can have a big impact on catalyzing movement. And then we talked about artists as leaders and how we can, many of us are trying to put artists at the forefront of developing projects and Art Place supports that in NEA, but how do we help artists develop that leadership? It is not something necessarily, they're getting in their art school training. It's a different set of skills. Pam Atchinson in Shreveport, Louisiana talked about how they worked with the Arts Council of New Orleans that mobilized a lot of art projects and artists after Katrina. They developed a curriculum for artists, so that's something that they can share. Link up with Pam. Who's standing over there? Stand up, wave your hand. Pam Atchinson from Shreveport. Excellent, excellent. I just want to make one comment because I've heard a little bit of conversation around that sort of outsider perspective, and there's certainly positive aspects to it, but I also want to acknowledge that there are potentially some really bad aspects to it as well. And a friend reminded me of an editorial from the New York Times a couple years ago that Peter Buffett, Warren Buffett's son, wrote called the Charitable Industrial Complex and about the tensions between being a national funder and being a locally informed funder and just the need to sometimes marry national perspective with local knowledge. And I think if the two work together, that can be really powerful and it shouldn't be the sort of parachuting in. Boston, both because you're in the front row and because I made a theater guy from a different time zone wake up at 8.30 in the morning. Boston and I were talking last night a little bit about sort of leadership issues and some of the things that are specific to Alaskan, some of the things that are specific to the arts field and some of the things that are sort of broadly in the nonprofit field. I just, I don't know if you have any thoughts, hopes, fears, dreams that you want to share inspired by anything here. My dreams? Well, last night they were incredible. No. No, I think we were talking about the idea that... And I'm sorry, and Boston, Chris, for Perseverance Theater, the Juneau Alaskan. Juneau Alaskan at Perseverance Theater. And we talk a lot in Alaska about with a limited amount of people. I mean, some of these things were said up here, retention of potential leaders. The beauty about Alaska is that you can actually get into, and I think you were saying this too, that you can get into a position without actually having any knowledge. So it's sort of a learn on the job, learn on the go, and it was interesting at the leadership, I was at one of the leadership tables and just thinking about, you know, we were talking about the difference between leadership as organizations, but then I'm also most interested in leadership and individuals and youth and professional development. And yesterday when I was looking around this room, I don't see many people in here under 30. And how do we get those people involved and access to this kind of an event so that they can learn and get professional development? And that's a big thing for Alaska. And as Jamie was pointing out, there's many communities that have that same issue, and you were a highlight of that in terms of how do you retain that in a smaller community. When you get to the larger markets, it seems like it opens up a little bit. And there's actually competition for those leadership positions. But yeah, so I mean, professional development and leadership in terms of individuals moving forward with whatever the cause is or whatever the movement is, and I like that idea. I think that's very important. And I'm old now, but I've thought about this since I was in my 20s, how do I get my generation into the theater? That was my big thing when I was 20 years old. But it seems now that it's moving into this same idea. I'm still thinking about those 20-year-olds, but I'm just old. So just to follow up that earlier question, for the people who raised their hands and felt comfortable self-identifying as a leader, how many of you guys could identify someone in their 20s who wants to work in this field? And do you guys, for the folks of their hands up, how many of you guys have the resources you need that would allow you to mentor, to share knowledge, to sort of encourage that person along? I see a pretty big delta between the folks who could do it and the folks who feel able to do it. So I think that's maybe another area that we need to focus on. Liz, can we grab five more minutes on this? Okay, so just because we're a little tight on time, I don't want to say more. Does anyone else out there have questions, comments, thoughts, things they want to share? Megan? Here, take. I'm partnering with Colorado State University and they have built a program called LEAP and it's a way for art students to get more experience in the administrative side and the business side of arts. And I think that they're the leaders in this program, so I encourage you to look that up. It's just they have a LEAP master's program and a LEAP minor program and they, through that, I'm able to get interns to come and help me, which is amazing because it's free help. That's great. And I think Danny and I, Danny's here somewhere, we're talking about UC Davis as potentially being a really strong partner in terms of rural creative place-making leadership development. And on Twitter, colleague Scott Walters from Cradle, the Center for Rural Arts Development Leadership and Education was also talking about the UNC system as well. So I think there's a real interesting connection with universities. So we have a mic back here with Tim. I was at the silo table and there was, I think there was just, I want to elaborate a little bit more on some of the resistance to the ideas of field. On the one hand somebody at our table said, you know, this is stuff that all of us have been doing, but we're trying to apply a new label to it and sort of recognizing that some of the dangers of trying to apply too strong a term or too strong a notion of field to it, that what can happen in a gathering like this that is really good is the inspirational that we get inspired by each other. And then one sees commonalities, either commonalities of potential or a commonality of situation, that there's a real value in the idiosyncratic and the individual and the anecdotal because one of the great, what we've seen again and again with cities and communities is where a single idea becomes very powerful and it's not contextualized or it's not modified to respond to the particulars of a community or a context or an individual and it can be very dangerous. So to be very, very aware of those risks as we're defining fields and generalizing, even as we want to learn from each other. Yeah, please, Eric. Wait, grab this mic just in case. Just in terms of the idea of field versus movement, I totally get the point about the fear of silos so we definitely have to be aware of the broadness of the work. But when I think of movements, I think of things that have a lifespan, like movements have lifespans. I think what we're trying to create is something that will be here 10, 15, 20, 25, 40 years from now in thinking about our fields. And I think that's part of where we, I hope we're taking this as we think about it but I think we should be sensitive to it but not necessarily shy away from the idea of institutionalizing to some degree the work through field building. I think that, yeah, Julia, please, jump in. I want to just feel a little bit too about, I think we're getting caught up in trying to describe the act of creative placemaking and we're not talking about why we do it. I think the point we can get to where we can define better why we do it, we're going to find greater commonalities in what we're trying to do. The other piece I worry about is the rush in some ways to define the impact of it because, you know, I think Adrian Rich wrote a book called, A Wild Patience Has Taken Me This Far. I mean, we've only been at this, like, what, three or four years in terms of art place. So the longer-term impact is going to be one of those 25-year overnight success stories and we need to have enough wild patience to get there. No, I think that's absolutely fabulous. Yeah, clap, clap, clap. Were you grabbing the mic to say something or just to pass the... Oh, okay, fabulous. Eric was going to jump in with wild agreement. Anyway, I had something to say that's totally gone out of my head. I think we have time maybe for one more? All right, Leslie Koch is desperate to tear on the notion of field again in the block with Tim Tompkins. One of the things that's so inspiring about being together is the sort of network and it seems like in these two different kinds of discussions, network came up, but I want to sort of bring back the notion of place and visiting places. I would love to know how many people have a travel budget in their organizations. How many people have a travel budget of more than $5,000? Yeah, okay. My travel budget is my metro card. And I have found it extraordinarily useful to go to places. So, I mean, just as an example, I read all those articles about Downtown LA, but it's totally different to walk the street. And as you think about kind of the next stages of art place, you know, I'm not asking for boondoggles for all of us, but I think the knowledge that we can share when we're in each other's places and talking about that could be incredibly profound. And it's something that is just zeroed out of all of our budgets, and so we don't have the chance to do that, but sort of continuing the conversation. This is about place, and so your place is different from my place, but if I'm in your place, we'll have a totally different conversation even than we can have here. So just something to think about. No, I think that's a great point. All right, so I think unfortunately we really do have to wrap up this session. Please join me in thanking Don Howard, especially. And really thanking everyone who participated in this morning's session. So thank all of you guys. We've got our day kicked off now. We've got a full day ahead of us. Next up we're going to do breakouts. There will be a breakout in here, and that is the performance temporary and the art of the ephemeral. Also, if you're watching at home, that's the breakout that's going to be live streamed. So we're going to reset some chairs really quickly for that. As far as the other breakouts, we have artists, leadership engagement and investment. That's in Museum A, which is right next to us. In Museum B on the other side is community identity, past, present, and future. And then we have some changes because there was a leak with all of the wonderful flooding that's been happening. So if you're planning to go to shepherding permanent change capital projects in the built environment, that session is now in the Hershey Room, which is on the same floor in the same area. It's just a different room over on the other side. And if you're planning on going to regional place making and government, state, county, local, tribal, that session will take place in the Whitney Room, which again is also still in the same area. It's just a different room. So Whitney Room is the regional place making and government, and Hershey Room is the shepherding permanent change breakouts. So they're all set up all over there. The program, it has the maps on there for you. After the breaks, we're going to have lunch in the Noe Restaurant, which is on the third floor. You can get to the third floor by taking the elevator up or by taking the stairs up. The stairs are right here, sort of where you came up. Or there's two elevator banks on either side of the building. Noe Restaurant is on the far side. There will be tables both inside and outside so you can pick your poison. We will have meetup topics set up there. And you'll see a tent card with the name of the meetup topic on there. Then you can still tell us if you have a meetup topic just do it in the next hour and we will have it set up for you when you get to lunch. After lunch, we start again at 1.15. Like this morning, please try to be back here in this area a couple of minutes before 1.15 so that when we hit that time, we can be ready to really get going with that. We've got a plenary then and some more breakouts. And then later this evening we're going to have a killer party. So get ready for that. Drink your coffee. We're staying out. It's going to be fun. So we'll give you more details on that as we go. Being curated by a 27-year-old so we are nurturing the next generation, the under 30 generation. And there will be art happening everywhere. So now, we have a quick break. There's some snacks outside. Take a look at the map on the program. The breakouts are between here and the other side of the building. If you have any questions, let me know.