Two practices,
one way of
paying attention.

Dominican Republic
Practice 01

Creative & Civic Strategy

Cultural strategy, facilitation, and systems design for public art programs — from artist selection to community governance.

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Practice 02

Tierra y Tiempo

Body-based practice for individuals and organizations navigating change, grief, and becoming.

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Practice 01 — Creative & Civic Strategy

Public art works when the process earns trust.

I design the artist selection, community engagement, and governance behind public art programs — the parts that decide whether people trust it, use it, and feel something when they're in it.

My framework

Cities are emotional ecosystems.

People aren’t separate from nature, we’re part of it, and our nervous systems read a place the same way they read a relationship, as safe or unsafe. I design public space to hold that same complexity: a plaza that can carry a festival and a vigil, joy and grief, celebration and real safety, all at once.

Portrait of Yarlyn Rosario, public art consultant
Yarlyn Rosario (she/they) — Lancaster, PA

I started as a community organizer in Philadelphia, knocking on doors before any of this had a name like “civic strategy.” A few years later I co-owned a bodega, and turned it into something closer to a community resource hub than a corner store, fliers and referrals stocked right next to the chips and coffee. Both jobs taught me the same thing: people trust what’s actually useful to them, not what looks good on paper.

That’s the lens I bring to public art and civic strategy work with cities, cultural institutions, and developers: real transparency in how artists get chosen, institutions that listen instead of performing it, and governance that holds up under pressure, not just in a press release.

Canvassing in Philadelphia, back in the day

I also come from documentary and commercial film — production work for the New York Times, PBS, Netflix, and others — which shaped how I think about story, structure, and what it takes to make something land.

I hold a BFA in Film and Media from Temple University in Philadelphia, with minors in Political Science and Spanish Literature.

A note on attribution: much of this work was carried out through institutional roles. At the City of Lancaster’s Office of Public Art, I served as Public Art Community Engagement Manager — an NEA-funded position — and stepped into an expanded role overseeing the department’s programs and projects when the Public Art Director departed. At Forecast Public Art, I served as Project Manager on citywide public art plans and community engagement work. All projects are attributed to the relevant institution throughout this page.

Services

01

Percent-for-Art Compliance & Risk Management

For developers required to spend a percent-for-art or public art fee on a project. That money has to be spent either way — I manage the process end-to-end (artist selection, community input, approvals) so it happens on time, on budget, and without the delays or community backlash that come from doing it wrong. This is risk management for a mandatory line item, not an optional extra.

Custom quote
02

Community Engagement Design & Facilitation

Designing and running the engagement process that gathers real community input before decisions get made — not performative listening, but structured processes that shape outcomes. This includes stakeholder committee design, public input campaigns, artist-led engagement, bilingual outreach, and facilitation across multiple community touchpoints. For cities, developers, and nonprofits who want communities to actually trust the result.

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03

Artist Selection & Program Design

Building the systems for how artists get found, evaluated, chosen, and supported — from open calls and RFQ/RFP design to selection panel facilitation, contracting frameworks, and artist orientation. Also available as a juror or outside expert on someone else’s selection panel.

Custom quote — panel and juror services starting at $650/day
04

Cultural Visioning

For developers and cities imagining what a space could become before the architects lock everything in. This is early-stage, ideas-first work — helping you understand the cultural life a place could hold, who it could serve, and what it could mean to the community around it. Less about deliverables, more about possibility.

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05

Training & Capacity Building

For municipal staff, arts administrators, nonprofits, and anyone working in civic or cultural systems who needs to do this work better. From single sessions like “Public Art 101” to multi-week training series, built around what your team actually needs. Past engagements include facilitation for the UrbanArt Commission in Memphis and a self-care and wellness training for the Latino Empowerment Project.

Starting at $400 per session
06
For artists

Artist Advising

Support for artists navigating public art systems — from understanding what a contract is actually asking of you, to positioning yourself in a selection process, to building relationships with municipalities and developers. This isn’t legal advice. It’s institutional fluency, translated. Having sat inside many of the systems artists are trying to navigate, I offer the kind of informed, frank guidance that’s rarely available to emerging and mid-career artists.

$75–$150/session, sliding scale

The sliding scale is intended for artists, caregivers, and those with limited income — choose what feels sustainable within this range, no documentation needed. If you need support and fall outside this range, please reach out.

Selected Work

Case studies & projects
Case Study — Bloomberg Asphalt Art Initiative · City of Lancaster, PA

Making an Intersection Easier to Navigate

Cabbage Hill is a dense Lancaster neighborhood with a busy five-way intersection that residents had long identified as confusing, unwelcoming, and dangerous for pedestrians and cyclists. Through a Bloomberg Philanthropies Asphalt Art Initiative grant, the City of Lancaster undertook a community-driven redesign. In my role as Public Art Manager with the City of Lancaster, I managed the project from artist selection through installation.

Traffic impact

Car volume reduced by 27%. Average speed dropped by 20%. Driver yield rate to pedestrians up 10%.

Active transit

Bike ridership increased by 12%. Crosswalks shortened by 55%, adding over 3,600 sq ft of new pedestrian space.

Community reach

100 volunteers painted the intersection. Multiple survey rounds published at each milestone.

Artists

Fern Dannis & Peter Barber

View full project →
Case Study — City of Lancaster, PA

Ewell Plaza — Public Art & Community Voting

Ewell Plaza is a transformed .78-acre public space in the heart of Lancaster — once a failed remnant of mid-century urban renewal, now a dynamic civic hub. As part of the City of Lancaster’s Office of Public Art, I managed the artists involved in the project and led strategy for the community-facing communications — running the public voting process on the Engage Lancaster platform, overseeing the communications materials released to the public, and facilitating the public artist conversations. The community voted 85% in favor of “New Lancaster Rainbow” by R&R Studios.

Community vote

85% of public votes went to “New Lancaster Rainbow” — a large-scale facade installation on the Christian Street Parking Garage overlooking the plaza.

Platform

Community input gathered through the Engage Lancaster public participation platform.

Role

Managed artists and communications strategy, facilitated public artist conversations. City of Lancaster Office of Public Art.

View project page →
Case Study — Forecast Public Art & City of Hopkins

325 Blake Road Community Engagement

The 325 Blake Road development in Hopkins, Minnesota — a 17-acre mixed-use redevelopment adjacent to the future Blake Road Light Rail Station — partnered with Forecast Public Art to ensure residents, particularly BIPOC community members, renters, transit riders, and youth, had a genuine voice in shaping its public spaces and wayfinding. As Project Manager at Forecast, I oversaw the artist open call, artist orientation, and a multi-month community engagement series.

Scope

6 artists, 10+ community events across multiple neighborhood venues over three months.

Partners

City of Hopkins, Alatus LLC, Minnehaha Creek Watershed District.

Impact

Community input directly informed public art commissions and wayfinding design for the development.

Artists

Abdurrahman Mahmud  ·  Briauna Williams  ·  Fern Naomi Renville  ·  Genie Castro  ·  Sayge Carroll  ·  Katrina Knutson

View full project →
Case Study — Forecast Public Art & City of Alameda, CA

Alameda Public Art Master Plan

As Project Manager at Forecast Public Art, I led the community engagement for Alameda’s first comprehensive public art master plan — a 126-page citywide framework covering commissioning, funding, siting, and deaccession — through PAC workshops, one-on-one conversations, pop-up events, and a bilingual citywide survey. The City of Alameda was Forecast’s client on this project.

Community reach

600+ people engaged. 439 survey respondents. 3 PAC workshops.

Deliverables

126-page master plan with 7 strategic recommendations and a five-year action plan.

Client

City of Alameda — Base Reuse & Economic Development Department, November 2023.

View full plan →
Case Study — Forecast Public Art & City of Red Wing, MN

Red Wing Five-Year Arts & Culture Action Plan

As Project Manager at Forecast, I managed the artist engagement and pop-up community events that drove public input for Red Wing’s first comprehensive arts and culture action plan. Artist-led pop-up engagements I coordinated reached 430 residents directly — gathering community input through creative activities rather than conventional public meetings.

Community reach

430 people engaged through artist-led pop-ups. 127 survey participants.

Role

Project Manager — artist engagement and community pop-ups, Forecast Public Art.

Client

City of Red Wing, MN — Arts & Culture Commission, 2022.

Case Study — City of Lancaster Office of Public Art

PACE Neighbors Program

PACE (Public Art Community Engagement) Neighbors was a 1.5-year NEA-funded program embedding local artists in their own Lancaster neighborhoods to use temporary public art as a tool for civic listening — connecting residents to the city’s comprehensive planning process through creativity rather than conventional engagement. As Public Art Community Engagement Manager, I led artist selection, cohort development, community workshops, and professional development. When the Public Art Director departed partway through the program, I restructured it — redesigning the program structure and what it would deliver. I left the city before the final workshop and the culminating exhibition at Franklin & Marshall College’s Winter Visual Arts Center, and handed off a detailed work plan to guide my successor through that closing phase.

The artist selection process — which I facilitated as a non-voting member of the selection committee — used an open call, a committee of arts professionals, artists, and community leaders, and a published toolkit to ensure transparency and equity. The five selected artists worked across theatre, sculpture, social practice, food systems, and spoken word, representing a cross-section of Lancaster’s neighborhoods and communities.

Funding

National Endowment for the Arts  ·  Franklin & Marshall College  ·  Lancaster County Community Foundation  ·  High Family Foundation  ·  Rick and Gail Gray Fund  ·  City of Lancaster Comprehensive Plan

Program Artists

Teatro Paloma  ·  Shauna Yorty  ·  Libby Modern  ·  Matty Geez  ·  Sir Dominique Jordan

Timeline

Phase 1: Onboarding & asset mapping  ·  Phase 2: Workshops  ·  Phase 3: Community discoveries  ·  Phase 4: Exhibition at F&M College

City of Lancaster PACE page → Program archive →
Selected projects
Lancaster City, PA

PACE Neighbors Program — NEA-funded, Public Art Community Engagement Manager

Culliton Park Public Art — On-site mural management & artist talks, Salina Almanzar & Matthew Geller

Asphalt Art / Cabbage Hill Intersection — Bloomberg Philanthropies grant project

Regional & National

NEA Our Town Program — Grant Panelist, national creative placemaking

UrbanArt Commission, Memphis TN — Public Art Foundations facilitator

Latino Empowerment Project — Self-care & wellness training on art and mental health, Lancaster Community Foundation-funded

LISC National Panel — Public art & community trust building

Selection panels — Local and national, various clients

Bank of America Institute for Women’s Entrepreneurship at Cornell — Certificate in Business & Entrepreneurship

Through Forecast Public Art

Blake Road, Hopkins MN — Community engagement

Alameda Public Art Master Plan, CA — Project Manager

Red Wing Arts & Culture Plan, MN — Project Manager

MN State University Moorhead, Weld Hall — Artist call coordination ($100K commission)

MPRB (Minneapolis Parks & Recreation Board) — Mural project

Texa Tonka / Volo Apartments, St. Louis Park MN — Sculpture project, Wandering Rhythms by Juliette Perine Myers & Lori Greene

LUX Doral, FL — Project Manager, Light/WAVES light installation by Heather Carson

What people say

From my time at Forecast Public Art

“I had an incredible experience working with Yarlyn from Forecast Public Art. We created some engaging community events together to learn more about what my local rural community wants to see for public art in Red Wing. I am very grateful to Yarlyn and the entire Forecast team for the wonderful artist opportunity.”

Lindsey Cherek Waller
Artist — Red Wing, MN

“Yarlyn is supportive, knowledgeable, and a good listener. I’m looking forward to working with Forecast Public Art as I get my public art practice up and running.”

Kim Matthews
Artist — Kim Matthews Art Services

Worked with me before? I'd love to add your voice here — send a few lines whenever you get a chance.

Press & Speaking

ABC27 / WHTM

Lancaster City Initiative Seeking Artists for PACE Neighbors Program

“As opposed to going into a neighborhood and just changing something, it’s like using art as a tool to listen and connect with others.”

Read article →
Lancaster Online

PACE Neighbors Program Puts Out a Call for Resident Artists

“The opportunities are endless. Through this program, I want to help artists push the boundaries of conventional notions of what it means to exhibit work.”

Read article →
Franklin & Marshall College

The Power in Engaging the Community Through Art

F&M senior Sarah Sutter interned with PACE under Yarlyn’s direction, developing a zine documenting art and civic engagement in Lancaster.

Read article →
Memphis Magazine

Your Weekly Guide to the Arts

Featured as guest facilitator for UrbanArt Commission’s artist workshop series in Memphis, TN — presenting Public Art Foundations to emerging public artists.

Read article →
City of Lancaster — authored by Yarlyn Rosario

City of Lancaster to Unveil Culliton Park

Press release for the opening of the renovated Culliton Park — a $3.4M project integrating site-specific public artworks by Salina Almanzar and Matthew Geller.

Read press release →
LISC — Local Initiatives Support Corporation

Public Art, Community Trust & Restructuring Lancaster City’s Public Art Program

National panel hosted by LISC, moderated by Irfana Jetha Noorani.

Watch panel →
Work with me

Let's figure out if we're a fit.

Three quick questions. No essays required.

Step 1 of 3

Who are you?

Step 2 of 3

What do you need help with?

Pick everything that applies.

Artist selection or RFQ/RFP process
Stakeholder or community engagement
Public art plan or program design
Event activation or pop-up
Concerts, brand activations, launches
Creative direction / vibe design
Spatial experience, atmosphere, flow
Workshop or training
For staff, artists, or administrators
Artist advising
Contract literacy, navigating systems
Something else — I'll describe below

Step 3 of 3

Tell me just enough.

Project context, rough timeline, and budget range if you have one. Two sentences is plenty.

Your email


Got it — I'll be in touch.

Your message is on its way to Yarlyn. Expect to hear back within a few business days. If it’s urgent, you can also reach her directly at rosario.yarlyn.work@gmail.com.

Practice 02 — Tierra y Tiempo (Spanish for “Ground and Time”)

A guide for what your body already knows.

Constant anxiety, a racing mind, feeling numb and shut down — these aren't problems to fix, they're signs. I draw on body-based practices, breathwork, and what I've trained in to help you listen to what's already there.

Lancaster, PA — remote sessions, work with me from anywhere
Book a free call →
Yellow star flowers photographed by Callen Wendler
Photo: Callen Wendler

About

Portrait of Yarlyn Rosario
Yarlyn Rosario (she/they) — Lancaster, PA

I’ve spent my career listening — as a community organizer, a documentary storyteller, a public art strategist, and now as a guide. This latest chapter started after a period of real loss, when I felt stuck and needed more than talking could offer. I spent a year and a half working with a Core Energetics practitioner, and it changed how I think about healing enough that I knew I wanted to bring it to my community.

I’m still building on that — right now I’m looking into accredited and psychology programs to keep growing this work. What hasn’t changed across any of these roles: people already carry more wisdom than they’re given credit for. I’m not a licensed therapist, and I don’t diagnose or treat — what I offer is presence, questions, and whatever practice fits the moment: body-based work, breath, curiosity.

I also completed a mindfulness and meditation training through Helene Williams Reiki. My grandmother and great-grandfather carried a curanderismo tradition from the Dominican Republic, and that’s part of what I bring into a session too. Sometimes tarot comes into it — not fortune-telling, just another way to get curious about what’s already moving in you.

Whether we’re exploring a life transition, a creative project, a relationship challenge, or a question you can’t quite put words to yet, I meet you with warmth, honesty, and respect — and enough space to hear yourself clearly.

Tierra y Tiempo was born from a simple belief: healing, growth, and meaningful change happen when we honor both the ground beneath us and the timing of our own unfolding.

Ways to work together

Remote
01

1:1 Sessions

Remote sessions, one on one — drawing on somatic work, breath, or whatever else fits, paced to what you actually need. We go where the conversation wants to go, with curiosity and without rushing.

First call is free — a short conversation to see if we’re a good fit, no pressure either way.

$85–$140, sliding scale

The sliding scale is intended for artists, caregivers, and those with limited income — choose what feels sustainable within this range, no documentation needed. If you need support and fall outside this range, please reach out. I would rather find a way than have access be a barrier.

02

Working with Organizations

Self-care and wellness experiences for teams, community groups, and organizations who want something more meaningful than a lunch-and-learn. I’ve facilitated for groups navigating grief, burnout, and transitions — and I bring the same groundedness to organizational settings that I bring to individual work. Reach out to talk about what your group needs.

Custom quote
What we might explore

Grief · Transitions · Joy · Pleasure · Pain

These aren’t separate topics so much as different doorways into the same territory — the body, and what it’s been carrying. Sessions aren’t scripted. They follow what’s alive in the room.

Grief

Grief doesn’t always have a name. Sometimes it shows up as exhaustion, disconnection, or just the sense that something is off. We create space to acknowledge what you’re carrying — without rushing toward resolution.

Transitions

Change is disorienting even when it’s good. This is space to slow down, take stock, and find your footing — whether you’re moving through a career shift, a relationship, a loss, or a season of life that doesn’t have a clear label yet.

Joy & Pleasure

We don’t talk about joy and pleasure enough — and when we do, it’s usually in a way that makes them feel like rewards. These sessions treat them as something worth practicing, for bodies of all kinds.

Pain

Not a problem to fix. A conversation to have. We get curious about what pain — physical, emotional, relational — might be trying to say, and what it feels like to be with it differently.

A little something for you

Pick an element.

🌱 EARTH 🌬️ WIND 🔥 FIRE 🌊 WATER

Book a session

Let's start with a little context.

Tell me a bit about what's bringing you here — then pick a time that works.

First call is free. This is just about seeing if we’re a good fit.

Step 1 of 2 — About you

Step 2 of 2 — Pick a time

You're all set.

Click below to pick a time that works for you. The session is 60 minutes, remote via Zoom.

Choose your time →

Questions first? Email rosario.yarlyn.work@gmail.com

Not ready to book yet?
Writing

AI isn’t replacing the collective. It’s revealing how much we depend on it.

On trust, participation, and what an AI data center in Lancaster is really asking of us.

Essay

When I first started working in local government, I came in with a kind of idealism that only survives contact with a real institution for so long. I assumed government either worked or it didn’t: if a policy failed, it was because someone hadn’t tried hard enough, or hadn’t cared enough. What I found instead was a room full of people trying to solve enormously complex problems with limited budgets, competing interests, legal constraints, and imperfect information. Every decision I watched get made was a negotiation between what was ideal, what was legal, what was fundable, and what was politically survivable. Nobody in that room was lazy. Nobody was indifferent. They were constrained.

That experience didn’t make me trust government more blindly. If anything, it made me more skeptical of any process I couldn’t see. But it also reframed the question I was asking. I stopped asking “does government work?” and started asking “who gets to shape how it works, and when?” That shift — from judgment to participation — is the one I think we need to make now, at a much larger scale, as artificial intelligence moves from an abstract technology into physical infrastructure sitting in our neighborhoods.

People don’t lose trust in institutions all at once. It erodes in small increments: a meeting held at 2pm on a Tuesday when most residents work, a comment period nobody advertised, a decision that felt functionally made before the public hearing even began. Once trust erodes, cynicism sets in as a defense mechanism: if the outcome is predetermined, why bother showing up? I understand that reflex. I’ve felt it myself.

But here is the paradox I keep returning to: the answer to distrust isn’t disengagement. It’s better governance. Every time we opt out because we assume the process is broken, we hand the room over to whoever is willing to stay in it. Public meetings often feel inaccessible by design: the vocabulary of zoning ordinances, environmental review, and franchise agreements is dense, on purpose or by neglect, and it takes real effort to translate. It is far easier to criticize a decision after it’s made than to sit through the unglamorous work of shaping it beforehand. Participation is slow, often boring, and rarely rewarded socially the way outrage is. But it’s also the only mechanism we have for making sure institutions answer to the people who live with their outcomes. Disengagement doesn’t punish the institution. It just removes one more check on it.

This tension is playing out right now in Lancaster, where a proposed AI data center has become a live test of whether local government can actually govern something this large, this fast. Instead of asking whether the deal is simply good or bad, I think it’s more useful to look at what it addressed, and what it didn’t.

The agreement negotiated by the city took on several concrete concerns: water usage, given how much a facility like this can draw from a shared supply; noise, since these campuses run cooling systems around the clock; clean energy sourcing, since a facility this size can reshape the local grid; emergency response, because a large industrial site changes the risk profile of its surroundings; and community benefits, meant to make sure the neighborhood sees some return for hosting this kind of infrastructure.

That’s meaningfully more than many communities manage to negotiate. But the questions that matter most are the ones that come after signing. What happens after construction? Who measures compliance once the ribbon is cut? Who publishes the reports, and how often? Who responds if water use or noise levels exceed what was promised? Can residents actually see the data, or only summaries of it? These aren’t accusations. They’re design questions. And the answers will determine whether this agreement becomes a genuine template for how communities negotiate with AI infrastructure, or a one-time document that quietly stops mattering the moment the cameras leave.

Lancaster chose to negotiate. Not every community has. In Monterey Park, California, residents spent months building a campaign around a single ballot measure — Measure NDC, short for No Data Centers — after a developer proposed replacing an office building with a data center in their neighborhood. Volunteers went door to door with flyers in English, Spanish, and Chinese. The developer withdrew its application before the vote even happened. The city council banned data centers outright a few weeks after that. And when the measure itself went to voters, it passed with 86 percent in favor. The first citywide data center ban in the country decided at the ballot box. Monterey Park didn’t negotiate for better terms. It decided it didn’t want the deal at all, and it got there because enough people showed up early enough to have that conversation before a shovel ever hit the ground.

There’s a thought I keep coming back to, one that hit me almost offhand one day: people think AI is solving AI problems. I think AI is exposing human system problems.

AI isn’t creating trust — it’s revealing how little of it we had banked with our institutions to begin with. AI isn’t creating coordination — it’s exposing how uncoordinated our processes for infrastructure, land use, and utilities already were. AI isn’t creating civic participation — it’s exposing how thin our systems for gathering it have become. What AI is actually doing is forcing a question we’ve been able to avoid for a long time: can our institutions govern technology well, at the speed technology now moves? That question isn’t really about algorithms. It’s about zoning boards, utility commissions, procurement offices, and city councils — the unglamorous machinery of local governance — and whether that machinery was built for a moment like this one. In most places, it wasn’t. It was built for a slower century, with slower infrastructure and slower stakes. AI hasn’t broken that machinery. It has just made its age visible.

Here’s the part that stings a little: none of this is new information. Systems designers have been saying it. Community members have been saying it, often louder and longer. What was missing wasn’t the diagnosis. It was the willingness to actually run the numbers ourselves, in public, slowly, imperfectly, because that kind of math is uncomfortable, and discomfort is easy to avoid. (I’ll admit my own bias here: I’ve never had an easy relationship with math, even though it’s really just pattern recognition. The stakes just feel enormous when you’re the kind of person who wants every step to be right.) Now that there’s a giant calculator willing to do some of that math for us, everyone’s suddenly ready to move, mostly because that’s where the money is. What gets missed in the rush is that we already had a calculator for this. It’s called the collective.

There’s a phrase I use a lot in my work: the collective. It can sound abstract, even a little utopian, until you notice how much of daily life already runs on it. We invest collectively every single day, often without thinking of it as an ideology at all. Taxes. Roads. Public schools. Emergency services. Libraries. Retirement funds. Utilities. None of these exist because any one person built them. They exist because groups of people agreed, however imperfectly, to pool resources toward something none of them could build alone.

Maybe AI is reminding us that the biggest technology challenge in front of us was never intelligence. It’s coordination — and care. How do millions of people, with different needs and different levels of trust, coordinate and care for shared resources — land, water, power, attention? That has been humanity’s question for thousands of years, long before anyone imagined a data center. AI didn’t invent this problem. It just made it urgent again, and made the stakes harder to ignore.

I don’t think the answer here is simply “we need better government,” as a slogan. It’s more specific than that. Lancaster has an opportunity, not a guarantee. If this agreement becomes fully transparent, not just at signing but for the life of the facility. If residents stay involved after the initial hearings end. If outcomes are actually measured, and measured publicly. If companies are held accountable to what they promised, not just what they built. Then Lancaster could become something rarer than a cautionary tale: an example for how a community negotiates with AI infrastructure, rather than simply accepting it.

AI is not replacing the collective. It is revealing how much we depend on it.

Every question I’ve asked here — about water, about data, about trust, about participation — is really the same question asked six different ways: are we willing to show up for the systems we already own together? That was true before AI arrived. It will be true long after this particular data center is finished being new.

From my garden
A pepper growing in the garden

No single hand plants
a whole garden, only we —
rows we tend together.

Land Acknowledgment

Yarlyn Rosario lives and works on the ancestral homelands of the Lenape people, whose connection to this land is ongoing. We acknowledge the Lenape people as the original caretakers of this territory, and recognize that acknowledgment is only a beginning — not a substitute for action, relationship, or accountability.

Disclaimer

Tierra y Tiempo offers somatic coaching and wellness facilitation. Yarlyn Rosario is not a licensed therapist, psychologist, or medical professional. Sessions are not a substitute for mental health treatment, medical care, or crisis intervention. If you are experiencing a mental health emergency, please contact the 988 Suicide & Crisis Lifeline by calling or texting 988, or go to your nearest emergency room.

© 2025–2026 Yarlyn Rosario. All rights reserved.

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