Sketch notes by Alson Chiu from Sketch Effect
Robert E. Gard Award Presentation
The Robert E. Gard Award celebrates exceptional leadership in the field of community arts development.
Divergent Thinking: Making New Connections
In this plenary, participants learn about, observe, and discuss ways of working and partnering for effective creative placemaking in diverse, challenging, and ever-changing circumstances. We hear about examples of effective, unconventional partnerships and ways to help form and support responsive and flexible collaborations. Speakers explore working with mixed goals and organizational cultures to identify synergy as well as potential pitfalls among key community players. They explore when it is appropriate for public sector agencies to push, when to follow, when to get out of the way, and how to better understand and help practitioners navigate complex partnerships.
Choose one of the three options. All will be recorded and video links will be made available after the Convocation.
Finding Common Ground: Aligning Community Goals
Goals and agendas of different community actors often seem disconnected or in competition for resources, validity, and attention. Effective placemaking requires alignment among key community partners. How do we go about helping communities find common ground and build synergy? How can good alignment multiply support from public, private, and philanthropic sectors?
Recognizing Engagement: Doing the HOMEwork
Strong community engagement is integral to good placemaking. What happens when a community was not involved or organizational partners were not the right fit with each other or for community-based work? What can we learn from projects gone off track? When adjudicating grants, how can we tell whether applicants have done their homework?
Our Town Technical Assistance Program Webinars (by LISC), including one focused on Community Engagement Methods and Techniques
Feeling & Healing: Trauma-Informed Grantmaking
Communities, like individuals, experience social, environmental, historic and other traumas that impact their needs and ability to function. How do funders recognize when community partners are seeing or not seeing trauma? What is trauma-informed grantmaking, and what insights can it offer for programs designed to support arts based community development?