The Dance/NYC Junior Committee (JComm for short) is a group of dancers, arts administrators, and advocates that includes emerging leaders from the field working to create positive change in the New York City dance and artist community through research, activism, and community support. Through this challenging time, JComm has been a community I could rely on for support and comfort. As “social distancing” became an increasingly common theme among social media feeds, the news, and even my favorite podcasts, I was concerned and disappointed that I wouldn’t be able to feel connected or stay close to this dear group during a time of panic. 

The effective arts advocate needs to articulate the value of the arts in as many ways as possible—deploying the right case-making tool in the right situation. Consider these “10 Reasons to Support the Arts” as your Swiss army knife for arts advocacy. Like so many sequestered at home during COVID-19, I write this while mindful of our challenging times, and yet inspired by how the arts still have found a way to permeate our lives. I have watched Yo-Yo Ma concerts online, visited the Smithsonian Museum with a click, and joined my neighbors for daily 6 p.m. outdoor singalongs. Even in this difficult environment, the arts are providing personal experiences and promote social cohesion (see tools #2 and #8 on your army knife!). While I am uncertain what we will look like on the other side of this crisis, tool #1 makes me optimistic that when it is time to stop practicing social distancing, it is the arts that will unify us. 

Studies show the healing potential of the arts is powerful. It can change a person’s focus and alter a body’s physiology. Research suggests that it can lower blood pressure, improve stress management, curb anxiety and depression, alleviate pain, enhance memory, improve communication, promote wellness and relaxation, and enhance the production of proteins that accelerates healing and minimizes the danger of infection. Recognizing that a patient’s physical health is fundamentally linked to his or her emotional and spiritual well-being, in 2016 Summa Health committed to integrating the healing arts into its renowned patient care by creating a Healing Arts Leadership Council made up of senior hospital staff, benefactors, and community leaders. This Council is dedicated to bringing the healing powers of art and music into the hospital. As Summa is a community hospital, the Healing Arts Council decided early on that all artwork displayed would feature artists with a connection to Ohio, and predominantly Northeast Ohio. In addition, all art would be original, with the goal of engaging viewers with the pieces, and focusing their attention on the artworks’ unique qualities. 

In a process that began over a year ago, the Arts have gained increased support and funding through the Congressional appropriations process. While traditional legislative priorities—the National Endowment for the Arts, the National Endowment for the Humanities, arts education, etc.—garnered increased funding and support language from legislators, new areas—creative arts therapies for veterans and service members and arts programs for at-risk youths—also were recognized and encouraged by appropriators for the fiscal year (FY) 2020 funding cycle. These additional legislative wins were made possible by an active Congressional Arts Caucus and Senate Cultural Caucus, a growing coalition of pro-arts organizations, and motivated grassroots advocates in every state. As the FY 2021 appropriations process is set to begin next week with the delivery of President Trump’s budget to Congress (scheduled for Feb. 10), our work to build off last year’s successes has already begun. Collaboration with our National Partners on the key issues for the 2020 Congressional Arts Handbook are ongoing, and we are gearing up for the 2020 National Arts Action Summit. 

157 years ago next week, the Battle of Fredericksburg took place—one of the bloodiest of the Civil War to that point. Following the battle, the giant Union and Confederate armies were camped mere shouting distance from each other, separated only by the Rappahannock River in Virginia. On a cold and wet evening, with both armies hunkered down and tending to their wounds, a band in the Union camp struck up a patriotic tune in hopes of lifting their side’s spirits. The Union soldiers cheered in appreciation. Not to be outdone, the Confederate band across the river then played their own patriotic tune—and the “Battle of the Bands” was on. 

In a society struggling to find equity and social justice, the arts improve the quality of our communities. They unify us and help us understand other cultures—benefits that persist even in difficult social and economic times. Like the thousands of soldiers celebrating that cold December evening, the research shows today’s public understands this as well. 

Humans’ entire recorded history revolves around wars as different cultures and ideologies collided. As sound is an intrinsic part of culture it was only natural for us to use music to rally our tribes and intimidate the “others.” Just as sound (music) continues to be used as motivation before battle, it also is used as recovery after conflict. There is a wealth of organizations, both within government and the non-profit sector, dedicated to providing music-based health services across the spectrum of need. Over the past two years I have been fortunate enough to be a part of the national initiative to advocate for these services and increase collaboration between organizations. It has been a journey of amazing discovery that I wish all people could take. So much advancement has been made in improving our health. The combination of modern medicine and age-old understanding of wellness are creating better lives across the globe. The need for creative arts therapies across the military continuum will increase. I envision a world where a member of our Armed Forces has a partner in music from the day they join and throughout the rest of their lives.

I’ve been called the “artsy-fartsy banker.” I started playing piano at age 5 and never looked back. As a farm girl from a rural town in South Dakota, the arts saved me. I’ve been in my role at Fifth Third Bank for 21 years and the company has grown to be an impressive arts champion. That’s not who our company was 21 years ago, but this is who we are today, and I couldn’t be prouder. With the right messaging, people now understand about the power of the arts: it’s an economic driver. People who have a love of the arts have more creative skills—they are more diverse, more innovative, and thus better businesspeople. When we have talent come in, they want to know about the arts scene in our company and community. We know quality of arts enhances quality of life of employees. We are at a critical juncture. Communities need to be strong and vibrant, which means we need the arts—and we must ensure that arts are accessible to everyone. In the future, I can see our relationships deepening and growing with the arts in our community to further achieve our civic and social priorities.

Since the beginning of military conflict, music has played an essential role. Humans have been using their voices and creating instruments to produce sound for at least 10,000 years. It was inevitable that our need to create organized sound would extend to war. Before the advent of electronic communication, drums, fifes, and bugles were used to give commands in training and in battle. Along with this functional use of music, traditional songs were carried into the military for comfort and camaraderie. Shared song was a distractor on long marches, a way to bind Soldiers from different backgrounds, and a source of motivation to fight the enemy. Those shared musical experiences provide context and meaning that is vital to psychological and emotional recovery after war, and helps Veterans stay connected to each other and their service. This bonding force helps them tell their story to the public at large so the public truly understands the sacrifices they made, which can help to bring us all together as a nation.

It generally happens like this: The door to our museum opens—and in comes … a former military brat … or spouse … or a veteran with his or her family. Most of the time, they’re from out of town and have been following us on Facebook, planning a trip to our museum when they visit Albuquerque—or they were just driving along Route 66 and happened to see our sign. No matter how they got to the Museum of the American Military Family & Learning Center, their reactions are almost always the same: “I had no idea what to expect…” and then “Oh—this is amazing!” Because people process things differently, we capture military family history in as many formats as possible. The museum is educational, experiential, and interactive. It’s a mixture of practicality and whimsey—take our living room, for example—with its props of starched uniforms on an ironing board complete with iron, starch bottle and laundry basket, its cozy sitting area where we have discussion groups or watch DVDs on TV, or its exhibits, with panels of facts and figures. Visitors become a part of the museum, by simply being there.

October is National Arts & Humanities Month, a time to celebrate and champion the arts locally and nationally. The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts bring us joy, help us express our values, and build bridges between cultures. The arts are also a fundamental component of a healthy community—strengthening them socially, educationally, and economically—benefits that persist even in difficult social and economic times. The effective arts advocate needs a full quiver of case-making arrows to articulate the value of the arts in as many ways as possible—from the passionately inherent to the functionally pragmatic. To help fill your quiver, I offer an updated Top 10 Reasons to Support the Arts.

My son, Odin, surprised me and my husband at birth with a rare genetic syndrome—Treacher Collins Syndrome (TCS). It affects the development of the bones and soft tissues in the face. Most affected individuals have underdeveloped facial bones, very small jaws, cleft palates, and no outer ears. Odin was rushed to Children’s Hospital Colorado on his 3rd day of life; his stay lasted for three months. I am not going to sugarcoat it—those three months were hard. I witnessed my son undergo two intrusive surgeries. For days I couldn’t pick him up and hold him. I had to put away his layette and my going-home outfit I had packed before his arrival. I gave away my nursing clothes. His nursery at home sat empty. Our own home became a truckstop—a pass-through for us to rest and eat. We practically lived at the hospital. Pablo Picasso once said, “Art washes from the soul the dust of everyday life.” If that’s true, my soul during those three months was covered with the thickest mud. 

In September 1919, American Legion Tom Powell Post #77 in St. Louis was the first of its kind to become chartered as an all African American Post, decades before the military would desegregate. Post #77 takes pride in having members who served with distinction with the Tuskegee Airmen, Buffalo Soldiers, Montford Point Marines, and many other distinguished military units. Post members also have a proud history of assisting disabled and unemployed veterans, and a strong legacy of providing community youth arts programs. Tom Powell Post #77 was instrumental in bringing the concept of competitive marching music to the community through the development of the Spirit of St. Louis senior drum and bugle corps, and mentored the famed American Woodmen Cadets junior drum and bugle corps programs. The Tom Powell Post Junior Drum and Bugle Corps was organized on September 1, 1935, to help curb juvenile delinquency in and around the neighborhood and to provide music to the Post members marching in the American Legion parade held in St. Louis. The Corps as a competitive group won many honors, including perennial Missouri State championships and placing in the top 10 of numerous national conventions. The Corps was the only Black Corps in the country participating in American Legion competition.