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Watch TACA Perforum Live This Morning

by Anne Bothwell 21 Oct 2016 2:49 PM

Watch “Community Connections: Models for Building a Shared Vision for Arts and Culture” here, Monday at 9:30 a.m.


Here’s where to watch this year’s TACA Perforum, “Community Connections: Models for Building a Shared Vision for Arts and Culture”

The stream starts Monday at 9:30 a.m.



Carlton Turner, Executive Director, Alternate ROOTS, Atlanta. (Read  4 questions he asks before engaging in art work that interesects with social justice or community building.)

Karen Brooks Hopkins, President Emerita, Brooklyn Academy of Music; Senior Fellow, Mellon Foundation; Nasher Haemisegger Fellow, National Center for Arts Research, New York. (Read her post on how BAM grew with Brooklyn.)

P. Carl, Co-Artistic Director, ArtsEmerson; Director and Co-Founder, HowlRound, Boston.

D. David Brown, General Manager, Cultural Access Washington; Chairman, Culture PAC, Seattle.


Zannie Giraud Voss, Southern Methodist University Professor and Chair of Arts Management and Arts Entrepreneurship. (Read her introduction to this year’s theme.)


  • JeromeWeeks

    That’s Becky Young, the head of TACA, who’s introducing the Perforum –TACA’s 8th annual conversation about advancing the cultural conversation in North Texas. And this is its first to be live-streamed.

  • JeromeWeeks

    Zannie Voss, the moderator, asks the assembled cultural figures ‘What can we steal or adapt from our panelists?’ The idea is to learn what other cities and organizations have learned about working together as a cultural community.

  • JeromeWeeks

    David Brown of Cultural Access Washington (Seattle) is talking about how uniting to establish a sustainable source of income for the arts – and, very importantly, the way that money is distributed, how it’s harnessed to school systems (big expense: getting the students TO the art) – is absolutely vital.

  • JeromeWeeks

    P. Carl of HowlRound says the only way a community can come together is to ‘share truths’ – Carl asked if we in the audience could think of another person in the room and think about what we know, what is feeling or supposition, and what is a fact about that person. That’s because no connections can be made without a basis in reality – yet the arts are so geared toward making ‘reflections,’ metaphors. HowlRound – the discussion forum/website Carl founded five years ago – is based on the idea that so much of the conversation in the arts has been top-down yet there is so much expertise and frustration in the trenches of the arts.

  • JeromeWeeks

    Now there’s a question for Dallas: P. Carl just said that one of the missions of ArtsEmerson – Carl is co-artistic director of the Boston presenter – one of its missions is ‘how do we make downtown Boston — transformed from a combat zone to a bustling, high-end development site — how do we make THAT a true reflection of the WHOLE of Boston?’

  • JeromeWeeks

    The arts engender the highest ideals of learning, generate the greatest return on tourist dollars, leave the architectural gems that live on for generations in a city — so why do they gain so little respect? asks Karen Brown Hopkins, president emerita of BAM, the Brooklyn Academy of Music, the oldest continually operating performing arts organization in the country.

  • JeromeWeeks

    The classic city arts model — edifice, edifice, edifice, plaza — is under siege, says Karen Brown Hopkins of BAM. It’s a classical arts model, with each art institution in its niche. Lincoln Center is the perfect example, and it’s costing $1 billion to renovate – with nothing but chain stores and gentrified million-dollar condos around it (sound familiar?). BAM, she argues, is a 21st century arts center model: big and small, all the arts, ethnically diverse, everything mixed in. That’s the modern city, that is what’s exciting, that is why young people still come to NYC.

  • JeromeWeeks

    Alternate ROOTS is based on cultural equity as a fundamental practice: Carlton Turner of ROOTS, whose work stretches across 14 states and D.C. So how do we create access and to put the people most affected by cultural equity at the heart of that decision-making process?And to quote WEB DuBois, where the South goes, so goes the rest of America.

  • JeromeWeeks

    Making the artist’s project stronger at every phase of the funding process – so at the end, even if ROOTS doesn’t fund the project, the artist’s efforts haven’t been wasted: Carlton Turner.

  • JeromeWeeks

    `P. Carl of HowlRound: big arts organizations have responsibility to share philanthropy because they have the resources but they often frame their missions based on frames of whiteness and those frames include survival. Karen Hopkins of BAM agrees – the big organizations have the clout, while the little organizations often have the innovative ideas. But you need long-range projects because the first year, everyone is basically losing their minds. You need long-term partnerships to develop. Carlton Turner of Alternate ROOTS; If money can fix it, it’s not a problem. It’s changes in thinking about race and gender and creativity that are much harder to solve, much more necessary. And big groups are big ships, much more difficult to change. At TACA (The Arts Community Alliance)’s Perforum.

  • JeromeWeeks

    There’s nothing like a crisis to bring groups together — David Brown of Cultural Access Washington