Chocolate: Supply Chains, Slavery, Enlightened Self Interest and Creatives

The Arts Were Never an Economic Instrument: Gary Andersen, Theatre, Human Experience & Arts Funding

Gary Anderson joins Kristin to discuss Plowshares Theatre's new production, Roberto Clemente: A Diamond Within, a play developed over two years and written by Afro-Puerto Rican playwright Cándido Tirado, opening at the Marlene Boll Theatre in June. The play tells the story of Roberto Clemente, the Afro-Puerto Rican Pittsburgh Pirates player who faced discrimination as both a Black man and a Latino, played through chronic back pain, and was a serious civil rights advocate and humanitarian (baseball's humanitarian award now bears his name). The production grew out of Anderson's pandemic-era initiative, Black Theatre Latin Roots, which explores the histories of African-descended peoples across the Americas—reflecting that the majority of enslaved Africans were taken to the Caribbean, Central, and South America rather than the continental U.S. Anderson frames it as the first of an ongoing play-development effort, not a one-off. The conversation's core is arts funding, where Anderson delivers a detailed history and critique: * Michigan's collapse. In 1990, Michigan ranked second nationally (behind New York) in per-capita arts appropriation. Governor John Engler eliminated the standalone state arts agency by executive order in 1991, folding it into the Department of Commerce and reorienting its mandate purely around economic impact. Today the Michigan Arts and Culture Council sits inside the Michigan Economic Development Corporation, and the state spends roughly 97 cents per citizen, ranking around 28th nationally. * Minnesota as the model. A 2008 constitutional amendment (the Legacy Amendment) created a three-eighths-of-one-percent sales tax funding education, environment, and arts and culture. The arts share (~19.25%) has generated roughly $1.2 billion for the arts over 18 years, with Minnesota now spending about $10.07 per citizen—and Anderson argues the predicted negative consequences (people leaving, divestment) never materialized. * Distribution and equity. Anderson advocates for subject-matter experts and artists in grant decisions rather than politicians, raises giving circles as an alternative to donor-advised funds (which he sees as enabling community foundations to halt gifts under political pressure), and names the racial and cultural uniformity of Michigan's largest cultural institutions as a product of design, not accident. Anderson's central thesis throughout: the arts were never meant as an economic instrument. They are how humans investigate what it means to be human, project their values, and build social cohesion—he points to post–Civil War community brass bands as a tool for reknitting divided communities, and connects the decline in public arts participation to the loneliness epidemic, the erosion of civil society, and a culture increasingly defined by fear, dehumanization, and exploitation. The arts, he argues, are a necessary counter-narrative. He also makes the case for funding Black and Brown theater specifically: exposure to stories told from other cultural perspectives enriches everyone and challenges the arrogance of assuming all truth resides in one people's story. The episode closes with Anderson's deeply personal "why"—seeing the original 1988 Broadway production of Fences (with James Earl Jones), which spoke so directly to his estranged relationship with his late father. Years later, directing the same play as a father in his 40s, he identified instead with Troy, the father—illustrating his point that great art gives back something new each time you return to it. That experience, the capacity of theater to make an audience member feel seen, is why he does the work.

Can Tourism be the Sustainable Development Plan for your Community? Yes. Design it well.

The conversation delves into the concept of tourism as a connective tissue that intersects with various sectors, the distinction between sustainable and regenerative tourism, the community perspective on tourism strategy, diverse strategies in tourism development, the impact of tourism on the community and environment, and engaging in tourism development. The discussion emphasizes the role of tourism as a vehicle for community development and the importance of intentional design and stakeholder engagement in sustainable tourism. Contact Kristopher through B Global by Design or Kristopher Wilson . Takeaways * Tourism as a Connective Tissue * Sustainable Tourism and Community Development Chapters * 00:00 Understanding Tourism as a Connective Tissue * 08:09 Sustainable Tourism vs. Regenerative Tourism * 16:01 Diverse Strategies in Tourism Development * 23:01 Impact of Tourism on Community and Environment * 35:04 Engaging in Tourism Development

Interior Design as a Method for Community Storytelling

Kristin interviews Kelly B. Mangion, a commercial and residential interior designer, on the B Global by Design podcast. They discuss the impact of interior design on communities, emphasizing universal design, cultural preservation, and sustainability. Kelly shares insights on her work with tiny homes for the homeless and the importance of creating environments where people thrive. They also explore the future of design, including technology's role and the need for legislative support for interior designers in Michigan.

Assets, Assets Everywhere: How SAS Foundation is logging Sudanese assets for local development

In this episode of the B Global by Design podcast, Kristin speaks with Abukar Omar about his innovative work in community assets development in Sudan. They discuss the SAS Foundation's approach to mapping various community assets, including human, social, cultural, natural, political, and financial capitals. Unlike a typical cooperative development model, the SAS foundation creates a trust-based system for business development, where they match those who have an asset (services, knowledge, networks, etc.) to sell with buyers. Locally, the community asset system provides a mechanism for each person in the community to contribute whatever they have available, whether it is the production of an agricultural good or childcare or an elder telling stories (cultural), and formerly use these assets as a means for trade. By recording the assets, there is a basis to illustrate value, and this value can be translated into investments, whether through bonds or other means. SAS Foundation is still in the startup phase, with a prototype program in Eastern Sudan. The relevance, however, of the idea of logging multiple types of assets at the local level as a means to leverage investment or as a means to understand what assets have been overlooked, is a model that can be applied in both emerging and developing economies. takeaways * The SAS Foundation focuses on mapping community assets in Sudan. * Cultural assets in Sudan are underdeveloped and need better utilization. * Food distribution issues, not production, lead to famines in Sudan. * Community engagement is crucial for successful projects. * Micro-investments can empower local communities economically. * The SAS Foundation aims to create a food bank for all citizens in Sudan. * Building trust within communities is essential for collaboration. * Investment readiness programs help connect innovators with investors. * The SAS model can be replicated in other regions facing similar challenges. * Understanding local needs is key to effective community development. titles * Building Community Resilience in Sudan * Innovative Approaches to Community Assets Sound Bites * "We try to map community assets." * "We want to launch a food bank in Sudan." * "We lack a lot of human capital." Chapters 00:00Introduction to Community Assets Development 01:20SAS: Mapping Community Assets 03:52Cultural Assets and Their Utilization 07:13Theory of Change: Programs and Services 10:37Investment Readiness and Micro-Investments 15:08Community Engagement and Local Investments 19:05Food Systems Development in Sudan 24:50Connecting Communities for Better Distribution 30:00Current Situation and Community Resilience 32:18Future Vision: Establishing a Food Bank

Music Matters! How Live Music Heals and Brings us Together

Join Steve Voller and Olivia Hutchinson who talk to host Kristin Lobron about music. Olivia is an opera singer turned entrepreneur with her new venture the Practice Support Hub. Steve is a multi-instrument musician currently working towards becoming a Certified Music Practitioner. We talk about how music both hits us and heals us individually, and adds to the communities we live in. We explore ideas on how music could be used in a corporate setting to increase productivity, mental health, and teamwork. Join us! And don't forget to subscribe. Let us know what you want to hear a podcast about at info@bglobalxdesign.org [info@bglobalxdesign.org].