state arts action network
SAAN Professional Development Conference Call Notes
November 16, 2005
Topic: Arts Education Advocacy Funding
Guest Speaker: Laurie Schell, Executive Director, California Alliance for Arts Education (CAAE)
She is also a member of Americans for the Arts’ Arts Education Council.
www.artsed411.org
laurie@artsed411.org
On the call is John Abodeely, Americans for the Arts’ Manager of Arts Education.
Also on the call as Jay’s guest is Bob Morrison, Chairman and CEO, Music for All Foundation. At the end of the call, he will be talking about an exciting new program that Governor Huckabee is proposing through the Educational Commission of the States.
Una McAlinden, Guest. Executive Director, Washington State Arts Education Association.
Jay Dick welcomed the group to this call.
The next call will be on Wednesday, February 15, 2006, at 4:00 p.m. (EST) on how to organize an arts advocacy day in your state.
Laurie began her formal comments:
There are lots of colleagues, so the call will be more conversation and less formal presentation.
From the questions that Jay sent our earlier, there is some interest in learning more about how Alliance for Arts Education (AAE) organizations work at the state level and also broader interest in general with coordinating AAEs and other arts advocacy.
She noted that Donna Collins, executive director of the Ohio Citizens for the Arts, can speak to this too, as she wears two hats, the other being Ohio Alliance for Arts Education.
Useful to start with overview of what the Kennedy Center Alliance Network is about and how they fit in.
They have five underlying objectives:
- Build Collaborations—Develop and support collaborations/partnerships with community partners, cultural institutions, schools, and statewide organizations.
- Position the Arts—Strategic communications, articulate the arts education message.
- Generate Resources—Develop, publish, and disseminate resources for arts education leaders and practitioners.
- Provide Professional Development—Implement profesional development through education programs, training, and resources—more broadly defined now as a field builder.
- Recognize Innovation and Achievement—Provide awards and recognition to individuals, orgaanizations, schools, and districts.
Generating resource in the above list does not mean funding. To them, it means publishing and disseminating resources for arts education leaders and practitioners.
Professional development has historically been directed at teachers and artists, but under new leadership they have broadened the definition to be more defined as a field or capacity builder.
How do we as a state alliance fit into this?
We are a member of the alliance network, and as a 501(c)(3) we stand separately from the network. We have been around for 30 plus years, and they have evolved in the last 5–6 years quite rapidly.
This is similar in many alliances: grassroots organizations with no staff with stakeholders sitting around a table. We talked to each other a lot. We talk among ourselves perhaps more than is ultimately useful. In preparation to talking to people outside of the organization.
In the last 4–5 years, the CAAE board has redefined and reinvented who they are and how they fit into the statewide picture. Advocacy comes out on top. They are unique in what they provide, as no body else is doing arts education in California.
- Mission: To promote, support, and advocate for arts education for all California students.
- Facilitate a statewide information network.
- Advocate for statewide and local policies.
- Educate state and local policymakers, parents, and business community.
- Recognize student achievement and promote excellence.
- Develop strategies to ensure standards-based instruction and professional development.
- Initiate collaborations with local, state, and national arts and education agencies to develop programs and resources.
They have a staff of two. The home office is in Pasadena. They contract with a lobbyist to represent them in Sacramento.
She had the opportunity to review The State of the Field book today. What makes a good organization, challenges, roadblocks, etc.?
They are no different than other arts advocacy groups (intermediary) or service organizations. They all have the same challenges. They provide no direct services per se. With this come challenges to attract funding.
Their strength is their diverse board of 35 members. Cross section by:
- Geographic
- Arts Discipline
- Business
- K–12 and Higher Ed
- Parents
- Arts Council
- Department of Education
- Professional Development
- Arts Providers
- Professional Arts Educator Associations
Within the board, they have five strong committees. During the last couple of years, there has been new life in the committees to help leverage small staff.
- Board Affairs
- Executive
- Strategic Communications
- Public Policy
- Fund Development
Questions were posed about funding and where do they get funding.
Direct corollary with other organizations.
They have a funding pie that includes:
- Membership 10 percent
- Individuals 6 percent
- Foundation/Corp 30 percent
- Government 12 percent
- Earned Income 38 percent
- Miscellaneous 4 percent
Earned income—this is getting better. They are contracted to work with 15 districts in the Los Angeles schools create long-range plans around arts education.
Arts for All: Los Angeles County Blueprint for Arts Education.
They also get earned income from being a fiscal sponsor. They do this for organizations that do not have their own 501(c)(3) and want to apply for grants or need a fiduciary agent to manage revenues. They do it for them.
Betty Plumb: What percentage do they used for fiscal sponsor? For administrative costs?
Laurie: 5–6 percent to 15 percent is the range. They come in at 12 percent.
Betty stated that her group has contracts with their state agency and have a 20 percent administrative charge.
Betty asked if Laurie’s government support included the state and county.
Laurie: No county, just state and some federal.
John Abodeely: Does the percent change?
Laurie: Yes, depending on types of projects?
Gretchen Johnston: What types of organizations or projects do you accept being a fiscal agent for?
Laurie: Have to relate to the mission of the CAAE.
One example, a group of state arts education consultants are doing work for the state department of education and have come to them as a group and have applied to the NEA—as they are not a 501(c)(3), the CAAE are acting as their fiscal sponsor.
Gretchen: How much income per year does CAAE receive from fiscal sponsorships?
Laurie: It varies, and they don’t like to put too much importance on this area, as you can’t count on it. But it averages between $5k to $30 thousand.
Alene Valkanas: Pie chart for funding. What percentage comes from corporations and foundations, and how do you approach them?
Laurie: 30 percent from corporations and foundations. Very difficult to find the right match. Only a handful of foundations exist that fund statewide, intermediary-type organizations. One thing that is successful, Irvine Foundation, which recognizes intermediary organization/service organizations. CAAE has garnered a multi-year grant that splits operations and work done in districts.
They try not to use the L (lobbying) or A (advocacy) words. Advocacy is technically correct (implies education and awareness), but some funders shy away from the concept.
When you are developing a long-range arts plan, it isn’t lobbying per se, it is about developing awareness and visibility and promoting the benefits.
Language has a lot to do with it.
Gretchen: School districts actually pay you?
Laurie: No, there are different sources. Some from Los Angeles Arts for All pooled funds. Shared funds are parked with the Los Angeles Arts Commission.
Alene thanked Laurie for the help she gave Julia for “Illinois Creates.”
Laurie’s advice was for new money to be spent in districts through competitive grants to districts.
Laurie: The Illinois report is great!
Another strength of CAAE is the willingness to reach out to statewide organizations: California Arts Advocates, California Assembly of Local Arts Agencies, California Arts Council, California Department of Education. They try hard to have relationships that are sustainable, and they are talking with each other and can support each others' efforts.
Alene asked to get a historical perspective on the Kennedy Center. There appears to be a recent period of declining in support for alliances for arts education? Is this correct, or has funding and support been uniform.
Laurie: The Kennedy Center has been influenced by the notion of accountability that is sweeping education these days. Since much of the funding has comes from the Department of Education, they need to increasingly show impact, i.e., accountability. Interpreted in narrow sense, this becomes “what did students learn” and “what difference does it make.” Many of the state alliances say, “that is not what we do,” and they have said it often and loudly. With new leadership at the Kennedy Center, a broader view is coming to the forefront (this is only the second year of grantmaking with increased accountability). It seems to her that view of accountability is being broadened.
Donna: The Kennedy Center went from operation support to project support two years ago. The funding amounts didn’t decrease, but for her, increased. The limit for operations had been $20,000 per year. This amount is unique because they get high levels of funding because of their work. Project funds now increased to $25,000. So, there is more money. But, for some, operational money is critical to the organization. She agrees with Laurie that new leadership at the Kennedy Center is open to ideas from the field and what they want the network to look like. Alliances are stronger not weaker, and they are learning as they go forward.
Alene: How large is your network? How many states have active groups?
Laurie: 35 or 36, and they are all shapes and sizes. Some are very small that are run through volunteers, and then Donna’s and Hawaii that are bigger with everything in between.
Betty: There seems to be a change at the Kennedy Center that has been positive and forward thinking. South Carolina is unusual as they have arts education as a focus of all state arts organizations. We circle around arts in basic curriculum. They have professional development and an arts-integration conference. They have teaching arts initiative. The State Arts Agency is working with groups on this. But, this is different in all states. With Betty chairing arts advocacy, it brings consistency, but because of how they are structured, they keep moving forward no matter the ups or downs. With having one advocate voice speaking for all organizations, you can really move ahead with arts education. They rely on this as the “foot in the door” with state legislators. With lots of money going toward education in South Carolina, they are a big player in the appropriations process.
Laurie: They also work closely with State Department of Education.
Bob: What kind of projects is the Kennedy Center identifying as appropriate use of funds? Is the funding mechanism open only to alliance members?
Laurie: Funding is only available to members in good standing and there are criteria.
Donna provided a list of sample projects.
Professional Development
Whole School or School District Improvement KCAAEN Community Audit for Arts Education Teaching Artists Residencies in the Schools Cultural Organization Partnerships with Schools Preparation of Arts-Based Curriculum Resources Preparation of Authentic Assessment Resources Additional Arts Education Projects
Alene: What would you say is the percentage of successful applications?
Laurie doesn’t know. Process changed when it went from operations to projects, many folks were scared away or sat a year out. In the building phase now and applications will increase.
Jay: To Una – what grants did she get?
Una: Principal Leadership Program in School Capacity.
Donna: She hopes citizen groups are working in collaboration with alliances. In Ohio, they are same organization. If groups are collaborating, etc., the stronger that both organizations become.
Betty: Had a question about state department of education arrangements. Do all states have an arts specialist in the department?
Laurie: In California, there is one a representative from the department on their board.
Alene: No, but one of the first things they lobbied for and were successful in getting was a position such as this. They are now hiring someone. Chicago Community Trust is funding a candidate to oversee curriculum in arts instruction. The idea is that after the first year, the school system will continue with supporting the position.
Nicole Palof: It is similar to Nebraska. The Arts Council is partially funding first year, and hopefully next year the department will pick up the funding.
Donna: They have two positions: music and dance consultant and a theater and visual person.
Betty: They had two, but are down to one. In the state department of budget, they have a professional development budget for school districts.
Laurie – Lots of funding for professional development for schools, but none is earmarked for arts and music. Have to be savvy about accessing that money.
Betty: They protect and guard that money every year.
Betty: With special education, they have 10% set a side for arts. They are trying to get it up to 15%.
Alene: Is there a web site were information is shared? Like a listserv or joint web site or umbrella organization?
Laurie: CAAE has a separate web site and e-newsletter that is published every 2 weeks.
www.artsed411.org click on button to subscribe to newsletter: ArtsEdMail.
Jay thanked Laurie for her wonderful comments and also thanked Donna and Una for their assistance.
Jay then introduced Bob Morrison.
Bob: Governor Huckabee’s Arts Education Initiate is winding down this year. His term at the Educational Commission of the States (ECS) ends in the summer of 2006. His term as Governor of Arkansas ends in January of 2007. One of the things we have been talking about is what can be done in the short term to institutionalize work he is doing on arts education. The idea of a full, meaning legacy beyond his tenure.
The Governor came up with idea that Bob is referring to as: “Huckabee’s Ark.” They are working with national organizations, including Americans for the Arts to identify two state legislators form each state who are arts education supporters and leaders in arts education at the state level. Once identified, they will be invited and brought to the summer ECS meeting for training for policy and best practices. The idea is that when they return to their states, they will take action in support of the arts.
Alene: Where will budget come for travel?
Bob: ECS says that most state legislatures will pay for transportation. If this is not the case, we have other funders out there.
Sheila: What exactly are they being trained in.? Some particular agenda? Every state has different standards.
Bob: They are taking a look at where best practices are and what legislative language is in place. The Artscan database begins to lay out and compare legislation in states to make the arts a core subject. It also showcases best models and best practices.
Sheila: It would be nice at the national ECS gathering, that they partnered with someone from each states advocacy organization. This will make sure that there isn’t a split between what each sees as important.
Laurie – Not so much training – but capacity building.
Sheila: Learn it together – get things moving faster.
Betty: When deciding the partner, you need to look at who the strongest partner in the state is as it will not always be the Kennedy Center. But she loves the partnership idea.
Bob will take partnership idea back to ECS.
Sheila, as the Chair of the SAAN Special Projects Committee, thanked the group for participating.
