Pecha Kucha
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Hispanic: approx. 46%
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Asian: approx. 33%
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White: approx. 17%
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Black/African American: approx. 2%
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Multiracial, Native American, and Pacific Islander: <1%
- Strengths: Low barrier to entry, flexible structure, emotional accessibility
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Weaknesses: Limited time, unpredictable engagement, no control over weather or crowd flow
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Opportunities: Expand to kite-building, include storytelling, offer in other public parks
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Threats: Lack of sustained funding, busy public settings -
Brooklyn Arts Council
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Materials for the Arts
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City Parks Foundation
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NYFA or LMCC grants for community-based art
- I .Five W’s:
1.What (Activity, pedagogy) & How (Number of hours)
Flying Creatures is a community-based workshop designed to activate imagination through painting and kite-making. The first iteration focused on collective painting, held during a one-day event as part of the ARTMobile 2025 launch. Setup, facilitation, and reflection spanned approximately 5–6 hours.
2.Why (What prompted the project/activity/lesson )
This project emerged from a desire to create a gentle, intuitive space for public expression — rooted in care, imagination, and community connection. It was inspired by a residency workshop in Spain and developed further through site visits and research in Sunset Park, Brooklyn.
3.When
May 3, 2025 (first NYC iteration), with future sessions planned to include actual kite construction and flying.
4.Where
Sunset Park, Brooklyn — a vibrant, multicultural public park with open green space and strong intergenerational use.
5. Who (Socio-historical and cultural contexts of the group/site)
Sunset Park Demographics:
(Source: NYC Open Data, 2024 estimates)
The neighborhood has a high number of Spanish-speaking households and working-class immigrant communities.
It is a space of daily movement, informal gathering, and cultural layering.
II. Framing concept
The project connects to themes of wellness, immigration, identity, and ecojustice through the symbolic use of kites, open public artmaking, and collective creation. It resists formal or institutional art spaces, inviting participation outside of systems of assessment or control.
III. Locating assets: Community networks, leaders, resources (Tangibles and Intangibles)
Sponsor: ARTMobile, a collaboration between Teachers College and Brooklyn Public Library.
Assets: Sunset Park as a free, accessible space; families already flying kites; openness of participants; natural curiosity of children.
IV. Identifying problems: Gaps, interests, concerns or a SWOT Analysis ( Strengths,
weaknesses, Opportunities and Threats) - Could do one slide for all or one for each
VI. Priorities: Hypotheses on what are the priorities of your group
To create space for collective artmaking that supports imagination, autonomy, and emotional presence — without pressure, outcomes, or formal expectations.
VII. Trust - How will you establish it?
Trust was built through tone, body language, and material softness. No one was required to join. The layout on the grass and the invitation to simply paint (or not) helped remove formality and allowed for natural interaction
VII. Potential funding - List thoughts and questions
Future versions could partner with:
IX. Sustainability - How would you envision the longevity of the project?
Flying Creatures can adapt to any setting — parks, plazas, libraries. The format is replicable and expandable: drawing, kite-building, storytelling, sound. What matters is the openness and relational aspect.
X. Reflections
The simplicity of sitting on the grass and painting with strangers taught me that meaningful art doesn’t need to be grand or finished. It just needs space, softness, and a little trust.