Hey there, my name is Bill Cleveland, and welcome to the Change the Story weather report, where this week we'll be asking the question, how is the MAGA storm system impacting activist artists and cultural organizers in Minneapolis Powderhorn Central Community? To get this granular perspective, we're visiting with Noel Rayner, the senior director of narrative arts and culture at the widely respected Pillsbury House and Theater, which is located a few blocks from George Floyd Square in Minneapolis. Pillsbury describes itself as a new model for human service work that recognizes the power of arts and culture to stimulate community participation, investment and ownership. Now, given this mission, its location, and its diverse constituency, it's also on the front lines of the perpetually devastating MAGA upheaval. Welcome to the show, Noel. And how are you faring today?

Today I feel a little more stable, but it really, I feel like we're riding a roller coaster that actually like dives off into a pit of fire and it's terrifying. Not for me personally, as much as I'm worried about all of the people that I work with and for. So, yeah, it's a moment to moment. Terror fest is what it is. And rage fueled. I just, I don't know what to do with the big emotions that aren't helpful in this moment.

One of the things that I just keep coming to is on one hand, it's like, whoa, whoa, whoa. And this disoriented feeling that I'm having. And I realize, oh, that's the point.

Yeah, it is the point. And that also is enraging. Right. Like that absolutely keep me spinning so that we can't organize and resist. I think that's one of the consequences of whatever they're calling it, the flood, the zone. And like, I just found out that a person in my circle lost a job at the Minnesota Department of Health because of the cuts to the COVID funding. And this is a person that did public health, like really critical work, frontline.

Small budget, right there in the trenches. Yep, absolutely. And that's the other point. Pick off the most vulnerable. And then I think the bet is, oh, okay, if you're partially safe or all safe, that you'll just duck and cover.

Yeah.

And I think that's the question. Will people who are less vulnerable come out and take a risk?

Yeah, I hope so. I'm worried about that from the perspective of what some of the large institutions of higher education are doing right now.

Oh, my God. I know. I think they understand how to build a rock in a hard place. That's what they're doing. They're putting lots of people.

Yeah.

They're saying, your institution is at risk here. You're in bed with us. You better play ball. And somewhere along the line there, I hope there's some breakouts.

Yep.

So let me get into this. I feel like you answered my first question, but do you have a sense of the big picture?

Well, I was just talking to Mike Hoyt about this, and you know, what it feels like to him, and I completely agree, is the attempt to consolidate power in a white CIS heterosexual male construct, which is where the majority of it has been always. But it's now attempting to erase the very identities of a lot of other folks in order to disempower all of those communities and to take away any gains that we've made as a culture.

Exactly. And there's a big "I dare you" in there.

Yeah.

I think the Trumplanders are resentful of the fact that the people who don't count, the people who are supposed to be invisible, have been showing up, speaking their mind, taking leadership, exerting influence, making their presence felt, and they're saying, no, no, no, that's not the way it's supposed to be. We need you to go away, and we need you to shut up and disappear. And we're going to help you do that.

I mean, literally erasing words from. Which erases the people. Yeah.

Yeah. That video of the Tufts doctoral student being scooped off the street by ICE is chilling. It's also a textbook terrorist tactic. They knew it would traumatize others in similar situations and precipitate, you know, what they call self deportations.

Yeah. Well. And it's a very real threat right here in our space. And we've been attempting to train ourselves and practice what we will do if somebody shows up looking for somebody here.

So what are the responses?

There are a lot of know your rights trainings. And so.

Yes.

So knowing what to say and what to ask for and whether you have to admit people into your space and what they need to provide in order to be allowed into your space. And. And having a script so that if you're panicking in the moment, you practice and have a script. We have put this is a private space on most of our doors. Like, posted that so that we can be behind doors. And that's. It's not a public space anymore.

It's not no trespassing.

Exactly. Which feels it's like the antithetical to the spirit of who we are. Like, we're an. Please come in. You are welcome. Except not in this moment for folks that are looking to do harm.

There are people in your community who are really vulnerable.

So many. Yes.

And do you have contingencies for when people are trying to get away or be safe?

Yeah. I mean, that's what we're talking about. I feel like these situations are very civic and individual. And so, yes. Right now, if you feel unsafe, we can lock the doors and you can disappear from view. That you can be out of view of the windows or go home if people are worried about family members or, you know, just lots of grace around. What individuals might need to feel more safe. There isn't a feeling of safety at all in our community right now.

Yeah.

But there's more and less safe.

Yeah.

We're doing a lot of work. A lot of the storytelling we're doing on our stage right now is centering trans folks and so trying to be prepared for what happens if there's an anti trans demonstration during our Drag Story Hour presentations or during the play that we're about to put on our main stage.

Yeah. And do you feel you have allies?

Oh, yes. And people are coming out. Like the Drag Story Hour, we had one in February and 200 people showed up. There was space for maybe 40 or 50. So clearly just a big need and an overwhelming, like, people want to be together.

Yes. And the opportunity to do anything that feels constructive and creates solidarity is probably really precious.

Yeah. And supportive and joyful. I mean, Drag Story Hour is just fun. It's celebratory, it's beautiful. It's super fun. And centers all kinds of gender identities.

Yeah.

Expansive notions of gender identity.

That was probably no sweat last year, Right?

Yeah. I mean, and luckily we're in Minnesota, so I feel less.

Less vulnerable. Yeah.

Yes. In some ways, like at least our city and our state institutions are supportive in a. Whatever. In a larger, on paper kind of way.

But is Minneapolis a sanctuary city?

Yes. But I also feel like those cities are now targets.

Yes.

For federal action.

So they are.

I think, again, it's just lots of evil, harmful disruption for the sake of.

Yeah. And your theater based DEI program, Breaking Ice, has been out there for over a decade, making an impact in communities and companies across the country. I would think that you have a kind of target on your back. How is that playing out?

Yeah, it's interesting. So we're still doing Breaking Ice. I think we don't have the same volume of requests that we have had in the past, but we have work pulling us through to August at this point. We have a lot of conversations about the words we use to describe it, is it going to be inclusion and belonging and not DEI or EDI or EDIA or whatever we were using before, Although there's so much content out there.

Yeah.

We are now out of control of that has that language in it that it's kind of an exercise in futility to disassociate ourselves with the letters D, E, I. Although our goal is to do the work, to do the shows, to have the conversations, to call the question. So if using different language gets us in the door to actually do that with groups of people, I'm good with that at this point.

Yeah. And even a conversation with institutions that are maintaining their relationship with you is how do they do the work? And I mean, I'm reminded of all the theater folks I met in South Africa who. I mean, literally, because every script was reviewed by the government at all times and they knew how to do really radical work that people on the outside couldn't recognize.

Well, and our friends in Singapore, too. Yeah, I think about them in this moment too. Yeah. And how brave, all of those folks.

Exactly. Yeah. So. So I'm glad to hear that. Who are your. Your clients?

It's all over the place. I mean, we were with a bank and then a public health department of a county in a southern state, a school, a couple of healthcare organizations. It's all over the place still.

Well, so that experience, I mean, especially going forward, it's going to be amazing.

I think it's going to be really. Yeah, it's been really interesting. And I don't think we're far enough in yet. And I know we have. We're having conversations with folks that we've worked with for a long time who are not sure to what extent they're exposed because they don't know how much federal contracts or funding they don't know how much they actually have. Because what's really difficult, especially for nonprofit organizations like ours like Pillsbury writ large, that get county and city and state funding, which of those things have some portion of federal pass through.

Yeah.

It's really a hard knot to untangle right now.

Yeah. It really makes things complicated.

I think it's leading to a lot of surprise in. In bad surprises.

Oh, I see.

Because if you don't know up front, you can't plan. But if all of a sudden, like the health department, the whole opioid response team, gone. Pillsbury did have some opioid funding, which is now also gone for the moment until there's an injunction and then what? I don't understand.

Yeah.

How this is going to play out. And so what, we're three months.

Yeah. And I think part of it also is, I think there's some very serious planning that went into the idea that we're going to break all the rules and we're going to get sued, but it's going to take forever.

Forever. Right. And in the meantime, everything's going to fall apart.

Exactly.

And we're going to be able to consolidate power.

Yeah. But I think it's something that has always happened with the right wing is underestimating the guts and the courage and the persistence of those who are going to stand tall. Solidarity. And I mean, my guess is there's a lot of people in the next year that are going to surprise themselves as to how, how tall they stand. That's what I'm hoping.

I hope that's the case. I see some glimmers of that happening right now. What I see is very, it's very personal and very small. Like, I think we're all trying to deal with what's right there right now. And so I don't see bigger attempts at organizing. I see a lot of arts organizations that are really struggling right now. And I mean I, I, I think the landscape for nonprofit in general. And we've already gotten a couple of like really suspicious emails challenging 501c3 status or have.

Yeah.

Partners that we've been in association with saying that they were asked to provide a bunch of information about their partnerships with things and just kind of malicious trolling. Yeah, clearly.

So is there a hands off demonstration going to be taking place tomorrow? Yep, huge one.

And that was trans day of visibility at the Capitol on Monday. And that there have been some day of absence kind of protests happening. Like what happens if all of the folks who are immigrants and refugees don't come to work?

Right.

Yeah.

And so I've been talking to some folks and here's a resistance idea that's been bubbling up. The idea is that we literally story circle this thing to death and that stories themselves are the raw material then for artists to begin making work exactly the way it was done during the Civil Rights movement with the Free Southern Theater. That you give people their voice, you don't mediate it. And those stories hold their own weight, more weight than any slick TV ad. And that you keep it as local as possible so that the sources are less vulnerable and have more solidarity. So that's the idea. And my reason for saying this to you is if this comes to pass, and I have no Idea, if it will, we'll be looking for nodes like where do you have a story circle? Who's going to host a story circle?

Well, and you know, honestly, the. That's why Breaking Ice works, because it's telling stories. It's making people feel the impact of what oppression looks like and what not being included and what being historically erased looks like feels like in real time, in real relationship, in a real context.

With no lecture.

With no lecture, just actual stories.

Right.

And I think that's what we're going to be trying to do even more of as we have the opportunity to tell the stories of what the real impact of this moment too is what that's doing to people. I mean, if you already are stressed because of any number of factors, then add this, all of this on top of that and then try to function in a workplace that has just gotten rid of all of its programs that support you and is not.

Yeah. To me there's two levels of organizing. One of them is the political sphere, which is no matter what, it's a toxic, crazy, insane thing. But you also have creating sanctuary so that people who are obviously stressed out and feeling panicked have a place to get counseling and resources and even hide if they have to.

And I think there is a lot of power having an outlet to be able to talk about and share and then have realized in some form what it actually feels like to be in various situations.

To be vulnerable and to be targeted and to feel helpless.

Yeah. You know, in immigrant led businesses, small businesses, there's been a plea for people to come and support them.

Yeah.

Their people have disappeared because they don't want to be out in public. So the ripples are, are real.

And once again, that's the point. Yeah.

Which is the point. Right?

Yes.

Tear the whole fabric apart so that all we can worry about is that.

And not pay even attention to everyday business. So how is everyday business at Pillsbury House? There's so many things that you do.

You do so many things. It is present, but it is not. We have a show going up next week that is a Centers a Trans Muslim girl. It's a lovely story about found family. And. And we have a breaking I show next Friday that's going out. We have the little kids here every day getting their arts infused early education. We have Chicago Avenue project kids coming here. Yeah, they're on spring break right now, but making plays. We have the epic folks here getting their arts. We were. We're doing the free tax preparation Mondays and Wednesdays. It's been super Busy doing that. We have artists in the Art in Common studio and we're about to choose the Naked Stages fellows for this year. So to me that's a big part of resistance, right?

It is. It is.

This work is important. Not going to stop doing our work.

Absolutely.

We're building a building.

Oh yeah.

It's actually a third done at least.

Oh my gosh.

It's on the landscape. It's there.

I mean where is it?

It's where Full Cycle was. Another parking lot. It's right next to that. It was the How's Body Shop is. Was over there and it's. The body shop itself is becoming a scene shop that will be a workforce development program for to get folks into the tech theater trades. And then there's a brand new two story building in front of that has just been going up. We just toured the inside of it today figuring out where all of the light switches and the outlets and all of that have to go.

So your current building remains.

Our current building remains, yeah. This is a total additional thing. It will have two units of artist hoteling so that artists can come and stay and live there. They're not exactly apartments, but you could be there for a month and be comfortable. It has a big commercial kitchen. It has a big flex space that can be for performance or classes. It has three studios, two for KRSM radio. So the hosts will have state of the art studios and be visible from the street. Has a couple of offices and an open office space. It has resiliency stuff. So the. There's a bathroom with a shower that's accessible from the outside. So some of our unhoused neighbors can sign up for a time to come use.

I'm so proud of you guys for doing this. It's just incredible that's happening.

It is. And like the. The notion of sustainability, it's always been elusive and it's always been a term that really bugs me as a nonprofit because that's not really in our own control.

Right.

Nonprofit system works. But it has become increasingly elusive in this moment. So we're building it and we're scrapping every day to keep everything going. And we have the funding to build it. And for the first now year of programming we had this three phase plan and this was phase one. But the need to do other things with resources right now is real.

One last question. Are the philanthropies of the Twin Cities active in conversations or thinking or planning about what the hell's going on?

All of us are talking about trying to figure out what that means specifically. And so far, I haven't seen any major plans to shore up the loss of federal funding. We do get communication from funders about organizing efforts and trainings and coalition building. I feel like that's an important first step in all of this stuff, too.

Yeah. Yeah, absolutely.

I think alternative economies and mutual support and mutual aid kind of stuff is going to be really, really important. Critical.

Yeah. And given that this is not a flash in the pan, it's at least four years, if not more. And so building it so that it isn't a triage response, but actually something that's sustainable, just like you're. Yeah.

And I mean, I don't wish this time on any of us or anyone.

But creativity comes in weird packages in response to weird things, and this is it. Yeah. Yeah. Noel, it's really good to see you.

Good to see you, too. Sad you're still out there doing your thing.

Yeah. I'm going to try, and I mean in the most meager way, of course, just bring this to bear on the situation in terms of communication, spreading the word, giving people a sense of solidarity.

This is for a piece about what's happening with artists right now.

We've committed for the foreseeable future to doubling our episodes. And every other episode will be a report from the field.

Okay?

Yeah, absolutely. Okay. All right.

Thanks, Bill. Take care.

Welcome. Same to you. Adios. Bye. Bye. So that wraps up another weather report. I don't know about you, but I found that conversation both hard, heartening. First, I think we both agreed that the disorientation that we're all experiencing is by design. The chaos is used as a tactic to prevent resistance, and that recognizing this helps us stay grounded. I also think that for an organization like Pillsbury House, the practice of sanctuary is a means of both safety and. And strategy. And that creating spaces of safety and joy and cultural expression is a powerful form of defiance and finally, the foundation of the work. The stories, whether they're in small circles or on stage, are a lifeline. And when people tell their truths without mediation, they build solidarity and power and the possibility of change. So, again, thanks for listening, and please don't forget to Click on the GoFundMe link also in our show notes and consider making a contribution. Change the Story, Change the World is a production of the center for the Study of Art and Community. Our theme and soundscape spring forth from the head, heart and hands of the maestro, Judy Munson. Our text editing is by Andre Nebbe. Our effects come from freesound.org and our inspiration comes from the ever present spirit of UK235. So until next time, stay well, do good and spread the good word. And once again, please know that this episode has been 100% human.