Episode 9: CA Arts & Culture Summit - “Highlights Show Part 1” Transcription

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CA Arts & Culture Summit “Highlights Show Part One” Transcription

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Eric Estrada: [00:00:00] Welcome to Voices of the Community. I am your host, Eric Estrada. This episode is part one of a highlight compilation from season two of our special series where Arts Meets Impact and our co-production with California for the Arts, featuring interviews with Summit presenters from their 2024 California Arts and Culture Summit.

Eric Estrada: Join our host, George Koster and our summit roaming reporter Eduardo Robles as we highlight the voices of panelists and discussions that happen during the summit, which focus on how artwork is real work and rebuilding our communities through the arts. Our first voice is Julie Baker, CEO of California for the Arts.

Julie Baker: Good morning, Sacramento, California Arts and Culture Summit. How we doing? Are we feeling good? Yeah. Oh yeah. Excellent. And to our partners, thanks to all the partners we work with, we work [00:01:00] to fortify and empower the cultural sector and end the era of the starving artist. Yes. In the last five years, we have seen historic legislation and unprecedented funding for the arts, culture, and creative industries and workforce here in California.

Julie Baker: You all made that happen, so give yourselves a round of applause. We have seen a narrative shift in the perception of careers in the arts as legitimate work. Artwork is real work. Can I hear you say it? I'm gonna say it. Artwork is. Real work artwork is real work. And I have to give a shout out to Kristen Dolan from the California Desert Arts Council.

Julie Baker: Are you here, Kristen? I'm, because Kristen is the one who coined that and they, and then, then the Office of California, office of Small Business Advocates, Tara Lynn Gray, who was with us last year, wrote a blog post about artwork is real work. Right? So that's what's happening. We're [00:02:00] infiltrating. We have, okay, so it, it's legitimate work and the creative industry as critical to California's economy.

Julie Baker: This is the narrative shift that you are all engaged in and the essential role artists play in responding to civic issues and infrastructural innovation.

Eric Estrada: Our next voice is Nataki Garrett, co-artistic director of One Nation, one project

Nataki Garrett: in big cities and rural counties. Hundreds of artists will create new works.

Nataki Garrett: From Rhinelander, Wisconsin to Utica, Mississippi Honolulu to Oakland to Providence, Rhode Island. It will be a national artistic outpouring of local reflection and joy with so many sites piloting cross sector partnerships amongst local artists, healthcare care providers, and municipal leaders to bring health and wellbeing to the larger community.

Nataki Garrett: We endeavor to create a bold new awareness of the impact that having greater access to arts and artistic practice can have on our physical and mental health. And my personal [00:03:00] hope is that these partnerships and the research gleaned from our work will lead to more collaborations, increased investment in local artists by centering them as a necessary part of creating greater health and wellbeing in communities nationwide, centering their work as essential.

Nataki Garrett: And what's more, it's a model that can be replicated across sectors, across states, over and over until we get it right. We're in Phillips County, Arkansas, we're in the Bronx. We're here in California and Oakland across the country and around around every community and neighborhood. We're doing the work because artwork is the real work.

Nataki Garrett: I trust artists throughout history and into the present because they have their ears to the ground and their hands on the pulse of humanity. Artists provide their hearts to help us deepen our empathy and their minds, to broaden our horizons to what's necessary and possible to make a brighter and more equitable future.

Nataki Garrett: And to support [00:04:00] that future. I maintain that instead of being extractive, our world must be transformed to include intentional ways for artists to thrive. We must be intentional about the artist, about how we train them to make art. How the, the art they create, the resources they need, where that money comes from, the access and disability support that is required for them to be successful, the audience that is being invited and consciousness about the future projects that they are birthing from museum curators to the performing arts makers, to craft artisans and community choirs.

Nataki Garrett: The entire support system that surrounds the art and the artists must be intentional. With everybody pointed towards the same goal because it is the real work. Artists are thought leaders and change makers who transform culture. Reflecting our current humanity back to ourselves. We must endeavor to shift the national psyche so that artists are neither at the bottom or [00:05:00] the top of the hierarchy, but at the heart.

Eric Estrada: Coming up next is Chris Appleton, founder and CEO of Arts Pharmacy.

Eduardo Robles: Hi, I'm Eduardo Robles with Californians for the Arts and Voices of the Community here with Chris Appleton at the California Arts and Culture Summit. Just got out of the Arts and Health panel and we have Chris Appleton here for some insightful points of view on the panel.

Eduardo Robles: He, he just came out of, I just saw a post right now. About librarians being labeled, kind of like caregivers or, you know, kind that, that there's space and they're healers. And then I saw another librarian kind of like step in to say that they're not professionally kind of trained to be healers. And how about artists?

Eduardo Robles: Where do you see kind of like this credentialing of workers as kind of healthcare workers? How, how do we legitimize them in, you know, in, in, in systems? Funding structures in the [00:06:00] healthcare system.

Chris Appleton: So there are a couple of ways to think about that. So one, certainly say that artists have been healers since the beginning of humankind.

Chris Appleton: There's nothing new about the idea that artists are helping to improve people's health and wellbeing as well as prevent disease. There's nothing new about that. The science is very clear, and again, artists have been doing this forever. I think there's, you know, two ways to, to. Get to your question about the credentialing or certification of artists and cultural workers as healthcare workers.

Chris Appleton: You know, on one end of the spectrum you have sort of population health or public health programs where people, the public simply gets access to the arts and culture resources in their community through. A health plan, an insurance company through a health system, through a public health program. That's, that's, [00:07:00] that's one end of the spectrum where we're not asking our theaters and community dance studios and art centers and museums necessarily to do anything differently than they're already doing.

Chris Appleton: And that's important. They're already doing this work. Right. And, and, and artists can keep doing that work. And whether we. Call artists, healthcare workers are not, they're healthcare workers, right? The other end of the spectrum is that patients or individuals are referred to very specific arts and culture activities or resources where the provider of that resource has been trained, certified.

Chris Appleton: They go through quality, you know. Quality protocols to, to, to make sure that they remain up to, up to date in their, in their trainings and certifications. And so it's not an either or. It's [00:08:00] certainly a both. And in order to advance. Both of those goals that artists are truly recognized by the US healthcare system as healers through certifications and credentials, as well as for cultural organizations to be embraced by the healthcare system.

Chris Appleton: We need to continue to invest in demonstrating the evidence and outcomes that moves the needle for our healthcare partners.

Eduardo Robles: Thank you so much, Chris. These are great, you know, ideas that you know, we're gonna. Share with, you know, the, the, the, the our, you know, our arts advocates out in, you know, California.

Eduardo Robles: And thank you so much.

Eric Estrada: Our next voice is Dr. Indre Viskontas

Eric Estrada: , cognitive neuroscientist, scientist, communicator, and opera singer and stage director.

Indre Viskontas Ph.D: And can I just make one comment too? So one of the things that has come out of the Society for the Neuroscience and creativity was that, you know, a few years ago we had a, our annual meeting and we had an NSF.

Indre Viskontas Ph.D: Grant to [00:09:00] bring in some educators to come and see. 'cause we're like, look, we're doing all this great work in the lab about how to foster creativity. We wanna get it out to the teachers so they can utilize it in the classroom. And you know, we had a great time, lots of great conversations. And then at the happy hour, one of the educators came to us and said, look, this is all really great, but it's never gonna happen.

Indre Viskontas Ph.D: And we were just like, why? And he was like, because my parents and my community wants their kids to go to college, and until creativity is a prerequisite to get into college, we're not gonna have the time or the funding to emphasize it the way we are. All the other things that lead to better scores on the SAT.

Indre Viskontas Ph.D: So you know what we did? We started working with college application essays, and we have a major project now across eight different institutions, 42,000 college essays that we have run through our expert raters and a number of large language models to score them for their creativity. And it turns [00:10:00] out that these creativity scores are almost as predictive of future GPA as the SAT, and they're 15 times less discriminatory.

Indre Viskontas Ph.D: Than the SAP, and it gets better this year. One major Ivy League University is actually using this tool now in their current admission cycle. So now, now, now we can go back to the teachers and say, you know what? Actually creativity is gonna get your kids into college. We've solved that problem for you.

Indre Viskontas Ph.D: Now, put the music programs, put the creativity programs back into high school because you can tell the parents solidly that that's what's gonna get their kids into college.

Deborah Cullin: Fantastic.

Eric Estrada: Coming up next is Dr. Tasha Golden, director of Research for the International Arts Mind Lab at Johns Hopkins University.

Eduardo Robles: Hi, my name is Eduardo Robles with Californians for the Arts and Voices of the Community. Here at the second annual California Arts and Culture Summit, we just got out of the Arts and Health Panel, [00:11:00] and I have one of our panelists, Dr. Tasha Golden. Hi Tasha. Hi. Good to be here. Can you elaborate a little bit more on your role in this movement for Arts and Prescription?

Eduardo Robles: Who are the players who were like the initial kind of stakeholders that mm-hmm. You know, you. Became a part of, you've spoke a little bit about cross-sector partnerships about how to sustain those partnerships. How did you keep the, the train running for this, this project arts and prescription?

Tasha Golden Ph.D: Hmm.

Tasha Golden Ph.D: There's the initial way that I got involved the most recently was because Mass Cultural Council, the state arts council for Massachusetts, launched the first statewide arts and prescription program in the us. In 2020 and they invited me to evaluate that program. So we did a lot of really interesting evaluation because these, these partnerships across the state were really different from one another.

Tasha Golden Ph.D: So you might have, you know, in one part of the state, a local theater attached, you know, not attached to, but partnered with some clinics, a system of clinics. And then on the other, in the other part of the state, you might have, you [00:12:00] know, a physical therapy. Clinic partnered with a dance studio for individuals with Parkinson's disease.

Tasha Golden Ph.D: So they were all really different from each other, which meant that when we did the evaluation process, we got to learn a, a lot about a lot of different kinds of partnerships and how they worked differently from one another, what worked, what didn't work. And we did see a lot of challenges like with turnover.

Tasha Golden Ph.D: If, if the person who was championing a kind of program at a clinic then took a different job, then, then it might become difficult for the arts program to to, to figure out, okay, who's gonna be the next. Point of contact at that clinic so we can continue, continue this partnership and the other way around.

Tasha Golden Ph.D: So. In our writeup from that evaluation, which is free, anybody can get it, encourage you to do so. We shared a lot of what we learned as far as what was really working and what were barriers. And what was really working was that people really did love these experiences and, and took advantage of them. The prescribers themselves, the, you know, whether they were pediatricians or physical therapists or mental health therapists, they appreciated being able to refer people to these kind of experiences and they used them in lots of different [00:13:00] ways.

Tasha Golden Ph.D: One of the physicians told us that it felt like prescribing beauty. And it brought her joy to be able to share these experiences with patients and clients. And so anyway, once we had done that evaluation and learned so much, mass Cultural Council was like, how can we share what we've learned with other communities in the US so that they don't have to start from scratch?

Tasha Golden Ph.D: We did so much trial and error with this brand new program. How can we share that? So they brought me on to create a field guide and we, you know, used what we learned from Mass Cultural Council, but also a whole bunch of pilot studies across the. The country, including the new, the new program at Stanford University, which is represented in the field guide.

Tasha Golden Ph.D: And people should get that field guide 'cause it is a massive, groundbreaking resource and it is totally free. You can get it at asha golden.com/field guide. But like learn a lot about what arts and prescription is. But also we kind of take you step by step through how you can implement it in your own.

Tasha Golden Ph.D: Community. And what's so exciting right now is that we're seeing, you know, whole municipalities or whole universities think about how they can pilot this kind of program. But we also still see just as we did in Massachusetts, [00:14:00] maybe a single arts program partnering with a single, you know, clinic or a single mental health therapist.

Tasha Golden Ph.D: And it can start that way. You can, you know, you can plant these seeds as far as what might be useful to what population in what kind of addressing, what kind of condition or need. And you can start small and build from there.

Eduardo Robles: Thank you so much, Tasha, for taking the time to speak with us.

Eric Estrada: We are halfway through our powerful conversation at the 2024 California Arts and Culture Summit. You have heard from the voices of Julie Baker, CEO of California for the Arts. Nataki Garrett, co-artistic director for One Nation, one project. Chris Appleton, founder and CEO of Arts Pharmacy, Indra Visconti, cognitive neuroscientists, science communicator and opera singer and stage director, and Dr.

Eric Estrada: Taja Golden, director of Research for the International Arts and Mind Lab at Johns Hopkins University. Thank you to our incredible sponsors and donors like you for supporting voices of the community. Stay with [00:15:00] us more highlights ahead. Voices of the community is made possible by generous support from the Zeller BCH Family Foundation dedicated to ensuring vibrant work is created.

Eric Estrada: New voices are celebrated, and diverse communities have opportunities to thrive. Learn more@zf.org. Voices of the community is also supported by the Peaceful World Foundation, fostering a culture of global peace through hosted conversation and education. Discover more@peacefulworldfoundation.org. Welcome back to Voices of the Community, where today's conversation at the 2024 California Arts and Culture Summit focuses on how artwork is real work and rebuilding communities through the arts.

Eric Estrada: Let's continue the discussion.

Guest: Okay, so I have a question.

Miss Tee: Let's go baby . Yes.

Guest: Okay, so we heard wealth distribution. We heard infrastructure. In order to do stuff, we heard language. Now what I'm seeing is you've got all this [00:16:00] money, you've got all these other S, right? You've got all these art, and so you've got money flowing into nonprofits.

Guest: Amazing. You got hearts, you got money. Mm-hmm. In an idea of redistribution, what would you think about training up like small groups of artists who don't like (Inaudible)

Guest: to

Guest: become our profits.

Miss Tee: Excellent. How would that, I would

Guest: that to be a structure that can function in this money

Guest: or

Miss Tee: Yes, and

Guest: yes.

Guest: And

Miss Tee: I will offer yes. And. Yeah, I have a nonprofit, but I also have a for-profit.

Nikko Kimzin: Ding, ding, ding, ding, ding, ding.

Miss Tee: Because what I didn't want my mentees, the people that I'm grooming in the things of economics to think that they could only survive if they got a grant. So, so yes and yes. [00:17:00] And. How about just business?

Miss Tee: How about entrepreneurship? How about Arts Plus entrepreneurship?

Miss Tee: Arts Plus business models, arts Plus. Entrepreneurship business model and do it here for as long as you need to. grow.

Roshaun Davis: Ownership.

Nikko Kimzin: Yeah, I think it's, it's one of those there, there's a buffet and the 5 0 1 C3 nonprofit is one of them that I think it's just a tax status, but it's not a mindset.

Nikko Kimzin: Right. I make. Well, this year Kimzin Creative have been in business for three years. We'll have moved over a million dollars directly to artists. Right.

Miss Tee: Okay. That's a clap.

Nikko Kimzin: Tell me about Right. I'm an LLC. I am not a 5 0 1 C3 nonprofit. Right. I have been, I think people from our shared experiences, I have been used, abused, silenced within the nonprofit industrial complex, and I no longer, I'm gonna get mine [00:18:00] and my community's gonna get there.

Nikko Kimzin: There you go. Through my L. There you go.

Miss Tee: So then i, then I have a question for you, sweetie, just because number one, I love your bravery though. Brave people change the world. So my question for you is, do you have a nonprofit?

Guest: I helped eight organizations start nonprofits because they didn't know how to do it.

Miss Tee: Okay. Is there anybody in this room who needs help starting or building their nonprofit? Raise your hand. You have a mentor

Nikko Kimzin: Sign up.

Miss Tee: And that's how economic justice and community works in real time. Live demonstration, real time. And just so you know, we've been best friends for 20 years. We planned this whole thing. Just kidding. Just kidding.

Miss Tee: Just kidding.

Miss Tee: I'm just kidding. But I do wanna know your name. Shout it, mama.

Guest: Margaret Campbell,

Miss Tee: thank you.

Roshaun Davis: Thank you,. Thank you [00:19:00] Margaret.

Eric Estrada: Coming up next is Jamie, hand, director of Strategic Impact and Narrative Change at Creatives Rebuild New York.

George Koster: This is George Koster with Voices of the Community and Californians for the Arts at the second Annual Arts and Culture Summit here in Sacramento. And I have the pleasure of talking with Jamie Hand, the director of Strategic Impact and Narrative Change at Creatives Rebuild New York.

George Koster: So Jamie, my first question would be, I think for the audience it would be helpful. People call it universal basic income, guaranteeing income. It literally goes all the way back to the people's, you know, it's MLK back in 62. So share a little bit more about kind of the, the background was there, you know, every jurisdiction likes to do a study about another study so that we could study it and then report it.

George Koster: So how did the, you know, the city come to a place where they wanted to do guaranteed income? Was there a, some kind of a study first done? Or did people jump in on, you know, Michael Tubbs and the whole activity of Michael Tubbs in Stockton, basically showing, [00:20:00] hey, people spend the money to stay alive and get work and, you know, stabilize.

Jaime Hand: So one first distinction is it's across the state of New York, so 2,400, not just the city of New York. Okay. But the state of New York and. The, the data and the research is there. So we were launched in 2021. And so already the programs in Stockton, as you mentioned and elsewhere, you know, the broader guaranteed income movement and basic income movement, the explosion of programs and pilots that happened under the ARPA funding from, you know, during the pandemic was sort of an important baseline for us.

Jaime Hand: We decided explicitly not to make ours a pilot. We weren't doing it for research purposes. We believed that. People know best how to spend the money, you know, there, because we're a private sector, because we're a private philanthropy, we're not public dollars. There's some, there's some complexities that come with sort of giving money directly to individuals, but we, I mean it's permitable through the IRS, but, but we had to, folks had to show that they were below a certain income level basically.

Jaime Hand: And so we use something called the self-sufficiency standard. [00:21:00] To, and people had to sort of verify and show some of their income levels and things like that in order to be eligible. But there was no, you know, for us it wasn't about, we really were operating kind of from the ideas behind trust-based philanthropy.

Jaime Hand: Trusting people to know what they need to, to share, what they could share in their application. It was very simple application. Something that I mentioned on stage in the panel was that we, you know, we tried, we tried very hard to center sort of care throughout the process. These are people that are living in dire circumstances.

Jaime Hand: We have statistics. From, from our application data and from our survey data that I think over 60, I think it's 60% of artists are living, are making less than $25,000 a year in New York state or below poverty at or below poverty level. Right. And, um. And so when you're, when you're supporting folks through an application process, when you're helping them understand whether getting this money will shift their public benefits, right?

Jaime Hand: Some of these folks are on public benefits. That involves a lot of care, and that involves a lot of what we talk about is social service work, right? And arts administrators aren't often trained or, you know, have the skills to do that. So [00:22:00] we had a lot of really important partners in the implementation of that program.

Jaime Hand: And I think, I'm veering away from your, your original question, but we didn't feel like we needed to, to prove anything. It was, you know, in some ways when the Mellon Foundation under Elizabeth Alexander's leadership said, you know, this is something that we're gonna do for artists. Artists are important part of the New York State economy, I.

Jaime Hand: It was, you know, we were set up maybe as demonstration projects, like, is this a good way to support artists? And so again, we have a, the guaranteed income program. In addition to that, we also have an artist employment program. So two different, very different and sometimes intention methods of supporting artists.

Jaime Hand: And we are doing a lot of research on our programs. Right? They weren't. They weren't done to prove anything, but we do wanna know. And so we have two different evaluations happening within the guaranteed income program and two different evaluations happening within the Artist employment program. That will come out later this year with some information about sort of the, the models and not just how they use the money, but like what are the, what are the ways that artists practices have changed their overall wellbeing, things like that.

George Koster: Well, Jamie, thank you so much for being on Voices of the Community and California's for [00:23:00] the arts here at the summit, and taking time away from the summit to share your wonderful insights.

Jaime Hand: Thank you so much.

George Koster: Appreciate it

Jaime Hand: Likewise.

Eric Estrada: Up next are Naret Siegel Smith, executive Director for Music Forward Foundation and Board member of California for the Arts and California Arts Advocates and Marcus Mitchell, public Administrator for the City of West Hollywood's Arts.

Nurit Siegal Smith: I love it. Having our artists. Have their voice heard. It is amazing and I think that one of the things that I also heard here is making sure that in training, in education, in community, we are teaching artists how to monetize, how, what are all the different ways, the new ways, the old ways, what are the ways that artists from all different fields can learn how to monetize?

Marcus Mitchell: Can I add one more please? I'm sorry. My stuff is super basic. This is so basic, but it's also, it's something I need to know and teach myself, but ask for help. Like I said, all these things need to be in place. If you're an artist or [00:24:00] creative, be an artist or creative. You should learn how to create a budget or respond to certain things, but you're not supposed to become an accountant.

Marcus Mitchell: So, you know, in all this, I think you know this, this entrepreneurship is cool, but I think you've kind of got a culture of like this super hyped up like mega entrepreneur where you're like some robot brain person who does everything. And like, fuck that. Like, like what is that? So like, but to go, to go back to my point though, like, no, don't become an amazing accountant, but if you don't know how to do a budget, you probably know someone who does.

Marcus Mitchell: Regardless of your background. Our communities are amazing and full of really amazing people with incredible skills. If you have a weakness like. Find somebody who can help you out, know your weaknesses and, and, 'cause that's how these corporations and people on top who project that they know it all are actually doing it.

Marcus Mitchell: They have a team of like a hundred people doing all the little things for [00:25:00] them and they just, I've seen this even with artist studios. When you look at artists and you're like, whoa, how did they get there? They've got like 50 people working for them. So you, in your situation, working all alone. Are not gonna be able to generate a corporate level package, but understand what you're missing and what you need, and to the extent that you can, don't be afraid to ask for help.

Marcus Mitchell: And to go off of what Julie said, you'd be surprised, like people wanna help you, people want to support you. And if you come to them with something that they can actually give, that's a win. Like I'm not gonna be able to give everything, but if you're asking me something that I have to give, whether it's time or skill or an ability, I.

Marcus Mitchell: You may be surprised how people show up, so don't think it's your job to be, I don't even know the names of all these guys on the covers of like past company and stuff, but don't try to be like that. That's not why we value you, do you? I. But just know what you need to succeed and look for that support.

Marcus Mitchell: 'cause that's what the people who are [00:26:00] successful, that's what they're doing.

Nurit Siegal Smith: Love that. No, and something that came up in conversation previously is these great collaboratives of artists that have been popping up and these communities of artists that are relying on each other, pulling on each other's strengths and skills together.

Nurit Siegal Smith: And, and I think that we've talked. At length about those, the partnerships and collaboration today already. I love it. I think there's some really great tactical things that this panel has shared with everybody. The thing that I am taking away from already this day and from what was just shared is how important this network is.

Nurit Siegal Smith: To all of us and to the artists and the creative economy. So keep talking, keep sharing, keep growing together. My name is re to thank you to California for the Arts, uh, for this amazing summit. And thank you all for being here. Thank you panelists. Thank you.

Eric Estrada: That concludes part one of our highlight episodes of season two of where Arts Meets Impact in partnership with California for the Arts.

Eric Estrada: A special thanks to [00:27:00] our guests, Julie Baker. Nataki Garrett, Chris Appleton, Dr. Inre Scones, Dr. Tasha Golden, Tamara, Ms. T Fer, Nico Kimson, Jamie Hand, nait Siegel Smith and Marcus Mitchell for their insights on arts advocacy. Visit voices of the community.com and go to season two of where Arts Meets Impact.

Eric Estrada: To explore more about our guests and see their work while you're on our website, we invite you to visit our archive of past shows. Stay tuned for part two of our highlight compilation from our Season two Arts and Culture series. And stay tuned for our next series making the Invisible Visible as we amplify the voices of our unhoused neighbors and the people and organizations.

Eric Estrada: That support them. Today's

George Koster: episode was made possible through our co-production partnership with California for the Arts at their annual California Arts and Culture Summit. Special thanks to our technical crew, audio and video wizard, Eric Estrada and our co-production partner, beak Media [00:28:00] and their wonderful team, Paula Arni.

George Koster: Andy Konami. Shavan Giles and Clay go. Thanks to Casey Nance from Citron Studios for the graphics magic. A special thanks to our broadcast partners who helped share these important conversations. K-S-F-P-L-P-F-M in San Francisco. K-P-C-A-L-P-F-M. And Petaluma Petaluma Community Public Access tv. Beak Media's SF Commons and PEG Media's public access TV exchange.

George Koster: Thank you for your commitment to amplifying diverse voices and perspectives. Please support these partners and our mission By tuning in and spreading the word Voices of the community is made possible by generous support from the Zak Family Foundation. Dedicated to ensuring vibrant work is created. New voices celebrated and diverse communities have opportunities to thrive.

George Koster: Learn more@zfff.org. Voices of the community is also supported by the Peaceful World Foundation, fostering a culture of global peace through hosted [00:29:00] conversations and education. Discover more@peacefulworldfoundation.org. And we'd love your support to continue to make shows just like this one. Go to voices of the community.com and click on the donate button to help us continue to bring you unique voices from our community.

George Koster: Take voices of the community with you on the go. Subscribe on Apple Podcasts, Spotify, or your favorite podcast app, enjoying the show. Please rate and review us on your favorite app. It helps more people discover these important stories. Go to youtube.com/. At Geo Koster to watch or listen to all of our past and future episodes, and you can always go to voices of the community.com and listen and watch our five series and from our archives have feedback or ideas for shows.

George Koster: We'd love to hear from you. emailGeorge@georgekoster.com. I'm George Costa from San Francisco. On behalf of our team, thank you for joining us. [00:30:00] Until next time, remember, your voice matters.

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California for the Arts (CFTA) and California Arts Advocates (CAA) are sister organizations working together to support and strengthen the arts in California.

California for the Arts (CFTA) focuses on grassroots advocacy and empowering individuals to become advocates for the arts. They provide resources, programs, and services to raise awareness about the importance of the arts and help build a more creative California.

California Arts Advocates (CAA)focuses on professional public policy advocacy at the state level. They work to secure funding for the arts, advance policies that benefit artists and arts organizations, and ensure that the arts are represented in legislative decisions.

Together, CFTA and CAA work to create a thriving arts ecosystem in California by mobilizing grassroots support and advocating for policies that sustain and grow the arts sector. Learn more about their programs and get engaged.

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