This case study documents the pilot phase of Junebug Productions’ Color Line Project, a long-term national endeavor that combines performance and community story-collecting in an effort to revitalize Civil Rights Movement history as a valued and illuminating context for current issues of race. Using story circles methodology as a dialogue form, artist John O’Neal and a national organizing team worked over several months with local scholars, activists, and partner organizations to collect stories of local people's involvement in and understanding of the movement. Local

New WORLD Theater’s youth initiative, Project 2050, is a multiyear exploration of the midcentury demographic shift, when it is projected that people of color will become the majority in the U.S. Addressing issues compelled by these changing demographics, the project engages youth communities, professional artists, scholars, and community activists in civic dialogue and artistic creation. The project promotes creative imagining of a near future, when it will become imperative not only to address issues such as race construction, ethnic balkanization, social inequity, and power

Los Angeles Poverty Department (LAPD) is a Skid Row-based theater organization, founded and directed by artist John Malpede. LAPD has distinguished itself by its longstanding commitment to making change in L.A.’s Skid Row community, particularly regarding the homeless, through theater-based civic engagement work. As part of Animating Democracy’s Arts & Civic Engagement Impact Initiative, LAPD and Urban Institute senior researcher Maria Rosario Jackson engaged in research to develop a foundation to recurrently identify, monitor, and assess the cultural infrastructure of the

In recent years, county officials and residents of Ohio’s Allen County have been divided by issues of race, leadership, and water resources. Lima, the county’s largest city, suffered from the loss of industrial jobs and a declining tax base, shrinking population, and downtown and neighborhood decay. In the suburbs and rural farmlands, county residents have mistrusted city officials who have exercised control over needed water resources and have made moves toward annexing the county in order to revitalize the city. Issues of race have persisted over many years between the largely

Coming to America: Immigrant Sounds/Immigrant Voices was a project of the American Composers Orchestra (ACO), exploring civic dialogue within the field of classical orchestral music.  Spanning ACO’s 2000–2001 season, the project centered around chamber music concerts and informances at schools and cultural centers in New York City, bringing immigrant and refugee composers and their music into communities, and immigrant and refugee communities into concert settings.  Through dialogue, the project sought to link the music of four immigrant or

This case study explores a year-long project in rural central Virginia and coordinated by Wintergreen Performing Arts, Inc. (WPAI), a music presenter primarily known for its summer classical music festival. In 2002, Preserving the Rural Soundscape linked together three separate elements. The first was the commission and world premiere of "Singing the Blue Ridge," a suite of songs by Dr. Judith Shatin, scored for electronic music, voice, and orchestra. The second element was a community dialogue process using a study circle to explore issues

The Center for Cultural Exchange’s African in Maine aimed to build culture and community by assisting three newcomer African communities in Portland with developing cultural programming that would represent  their respective cultures and people. Dialogue occurred first within each of the Sudanese, Congolese, and Somali groups and second between individual African groups and the wider, white community of “Mainers.” The project aimed to address how cultural representation (or misrepresentation) can impact public perception of refugee communities and aimed to

Arte es Vida is an ongoing program of the Esperanza Peace & Justice Center in San Antonio. Supported by Animating Democracy from 2001 to 2003, Arte es Vida addresses issues of cultural equity and democracy, examining “the role of artistic and cultural expression in a society that inherits the deep wounds, economic and political disparities, and continuing practices of injustice that are the legacy of cultural domination in the United States.” It explores cultural grounding—the concept that a strong sense of selfhood and identity, as rooted in creative expression and

On the island of Hawai’i, residents of the rural region of Kohala deliberated how best to conserve a statue of King Kamehameha I—a hero revered as the indigenous unifier of the Hawai’ian islands and native son to Kohala: should the statue be restored to gilded bronze, the original intent of the mainland artist; or should it be repainted in life-like colors, thereby continuing a longstanding community tradition? Through the respectful collaboration of the Hawai’i Alliance for Arts Education, conservator Glenn Wharton, and the Kohala community's leaders and

Water is a critical life-force for the small community of Amery, Wisconsin. The Water Project was a multidisciplinary exploration into the issue of water—its use and abuse. Between November 2000 and December 2001, artists working in different art forms presented creative strategies for discussing perspectives on water, including: a reading and publication of new writings inspired by water; an adaptation of Ibsen’s An Enemy of the People to present-day Amery; a chamber orchestra concert featuring water-related classical repertoire juxtaposed with newly commissioned work; the