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We will endeavor to strengthen the cultural assets already in place. Our
museums, bands, art guilds, craft-based clubs, and orchestras should be
sharing resources and coordinating schedules.
We will try to support the creatives that are already here through mar-
keting, micro lending, patent assistance, etc.
We have the potential to increase tourism, by adding another destina-
tion asset and encouraging joint promotion to tour operators.
We will almost certainly raise the level of appreciation for preservation
as people see old buildings and equipment being used in imaginative
ways.
We will be an educational asset on the ground, where younger students
can visit and see adults treating arts, creativity, and inventive thinking
as if they were important! Demonstrators and teachers for our educa-
tional system will be more easily located and deployed.
We will be teaching and sharing skills in cottage industries that will
offer quality of life and income enhancements for people with low pay-
ing or unrewarding jobs.
We will have to get into the patent and intellectual property business.
Currently there are no patent attorneys in Northeastern Louisiana. We
hope to remove barriers to the creation of valuable patents and copy-
rights.
One of the kinds of synergy that develops is a concentration of cultural
assets. If we share collections and artifacts, others will appear, creating
a larger and more valuable asset over time.
Although we may some day have or host a craft festival, that is not what
we intend to be. Likewise, we don‘t aspire to be a place to simply go
look. We will be a place to go and learn or go and do; a place for active
learning. A school? Not exactly; but in part.
An inspiration? Absolutely!
Other regions have built vibrant economies based on the work of Craft
Guilds and Associations. This takes about fifty years. Mountain View
and Eureka Springs, Arkansas, as well as Ashville, North Carolina, are
examples. The Mississippi Craftsman Guild now has approximately 400
professional members. |