As an organization that has always been led by a majority of queer people of color, I knew that the National Queer Arts Festival (NQAF) survey needed to be able to capture the unique intersections of the organization’s artists and audiences. I also knew that I wouldn’t be able to neatly categorize the complexity of queer identity … but I could try. The underlying principle of the survey and its synthesis needed to be rooted in multiplicity and intersectionality; to allow complex gender and sexual identity to be celebrated rather than stripped down to fit into a single box.

At the end of 18 months of conversation, debate, creation and synthesis, the City of West Hollywood had its cultural plan. Five principles guided The Plan’s recommendations, among them #5: Experimentation. Sharing information from the cultural plan became the opportunity to develop a project new to the City—a data visualization project—in the form of digital media and temporary art installations. Guided by the experience of the City’s Public Art Coordinator Rebecca Ehemann, our call was an open one, requesting qualifications rather than proposals, and providing a fixed commission. Rather than bring on a single artist, we sought out three, ensuring that no stand-alone vision would control the data’s narrative. Artists Maria Lamadrid and Sean Noyce, and artist group YoMeryl were selected. The resulting projects—ArtEverywhere, Dream Cloud, and The City of Creative Delights—were partnerships between the City and the artists that allowed for new ideas to surface and West Hollywood’s public art to reach new altitudes. 

For the last four years, The California Alliance for Arts Education has been pursuing its Title I Initiative, an effort to clarify confusion around the appropriate use of Title I funds for arts education programs, and to provide tools to school leaders on the ground for planning and implementation. For us, the initiative is not just about finding ways to provide more access to arts education—it’s about providing a high quality education, full stop, for every student. That high quality education must and should include the arts.

Renowned architect and Artists Committee member Frank Gehry talks about "The Simpsons," modern communication, and the difficult decision to change his name in part two of an interview with a California student.

When recently asked how best to advocate for the arts in the current environment, U.S. Senator Tom Udall (NM)—co-chair of the Senate Cultural Caucus and chief sponsor of the CREATE Act—was unequivocal: “Start by telling every one of your Senators about the economic benefits of the arts.” This familiar refrain is one we have heard for decades from city council chambers to governor mansions to the halls of Congress—and it works. Arts & Economic Prosperity 5 does just that. It changes the conversation about the arts from that of a “charity” to one about an “industry” that provides both cultural and economic benefits to the community.

I truly believe that my background in the performing arts has taught me the fundamentals in discipline, focus, and drive to achieve great heights of success. Tasting it is only sweeter because I have climbed the ladder to get there. There were always controversies, financial difficulties, mistakes, failed romances, criticisms, indecisions, and the eternal journey of growing up and identifying who you are. Despite these difficulties, I chose to dance because I believed I had a gift to share. Twenty-eight years ago, I also believed that I could be an asset to my husband as his business partner. I have no college degree to boast of, but I am an owner of a very successful, thriving small business.