Americans for the Arts

In his op-ed (“The case for cutting National Endowment of the Arts funding,” April 2), David D’Amato states that “Government-funded art is publicly-funded art only once government is lazily conflated with the public. It is not the public (whatever indeed that may mean) that decides which art projects are to be supported with taxpayer dollars.” That statement is simply inaccurate. Mr. D’Amato must be unaware that the public is embedded in the entire grantmaking process at the NEA. This in part is why the NEA has received wide support from both Republicans and Democrats for half a century. 

Day in and day out, we work on behalf of so many that we may never meet. Whether a student in an art class or school chorus, a senior citizen in a quilting guild, a potter fashioning pieces for an Empty Bowls food pantry fundraiser, or a writer or composer bringing important subject matter to the page or the stage—they are relying on us to move the needle in public discourse about the power of the arts. 

To build the workforce of tomorrow, let’s invest in arts education for our youth today. Studies show that early arts engagement for students from low socio-economic backgrounds significantly increases their likelihood of college attendance and graduation. Increased graduation rates lead to increased employability, and studies also show these students demonstrate increased volunteerism and political participation. Exposing young people from all backgrounds to the arts is an investment not only in their future, but in a collective future with an employed and engaged next generation.

When I first moved out to Western Massachusetts I realized quickly that there was a budding arts community. Specifically, in regard to theater arts, all of the shows and showcases being put forward were stories featuring white European-centric actors/characters and their struggles and strife. Where were the Black/Latinx characters? The ones that weren’t treated racially and/or stereotyped? Where were the fully developed main characters of color that had full depth and breadth? Then came “In the Heights” and the “Lin-Volution” (Lin-Manuel Miranda) of the arts began. That show changed my outlook and perspective on what the arts should look like—they should reflect and relate to the people you are trying to reach. This is what spurred my vision for the Palante Theater company. I wanted to bring shows to the community which would highlight the struggle, sacrifices, and similarities that many Latinx individuals, like myself, experience every day. 

New beginnings are a good time to establish changes, take risks with new ideas, challenge the status quo, and support and celebrate your community of arts education and educators. Since it’s a new year I’d like you to consider two topics: Advocacy and Leadership. What is your role as an advocate for arts education? Who do you know that has taken a leadership role impacting the quality of arts education? What are you doing and saying as an arts educator or arts education advocate to support quality programs—and access to them—for every learner from our pre-school children through adults? How do you use your voice and share the story that motivates others to understand why arts education is essential for all learners?

The New Jersey State Teen Arts Festival celebrated the third year of its revival this past spring at Ocean County College in Toms River. Thousands of students and teachers from 18 counties gathered with professional artists for the three-day statewide arts festival, to celebrate the important role the arts play in enriching all of New Jersey. This year’s festival was a great success, reaching 3,500 students and 400 educators in attendance. At the center of the New Jersey State Teen Arts Festival programming are the showcases and displays of student creative work. The students that present at the State Festival are selected as the exemplary representatives of the outstanding artistic talent blossoming all throughout New Jersey’s local communities.