Since being elected to the Vermont House of Representatives last fall, my perspective has dramatically changed as to how best advocate for the arts and, in fact, how siloed arts organizations and their funders are. My legislative work focuses on economic development, tourism, heath, education, affordable housing, environment, and agriculture, as well as vulnerable populations: veterans, prisoners, the homeless, those suffering from substance use disorders, and survivors of physical and sexual abuse. Art is barely present in these conversations, but is so needed.

You never know when that “aha” moment might strike. For Magical Theatre Company in Barberton, Ohio, it happened 22 years ago when co-producing director Holly Barkdoll walked across the street prior to a performance to get change for the box office. Always inside the theater readying for performances, she never really saw the people coming to their shows, so she was surprised to find a line of people wrapped around the building. How wonderful, she thought, that the show was going to sell out. But then she realized that the line actually was going to the building next door—a local soup kitchen. At that moment, it struck her: while some families were waiting in line to see a play and be entertained, others were just trying to survive and find a meal. That moment inspired her and her husband, co-producing director Dennis O’Connell, to use their theater as an outreach to help disadvantaged children in Northeast Ohio.

Many performing arts groups and venues are working towards inclusion of their whole communities—both on-stage and in the audience. Today we’re beginning to see special performances and additional accommodations for audience members with disabilities. This movement towards inclusion can include toned-down lighting, sound, and special effects to accommodate people with autism. It may involve sign language interpreters and captioning devices to assist deaf audience members, or large type or Braille programs and audio descriptions on headphones for a deeper understanding of what is happening on stage for those with vision challenges. But inclusion doesn’t stop at the audience. It includes the stage, as well.

“You mean an artist made this for us?” A student with a visual impairment is seeing a work of art for the first time at an art museum. The student had just been told that a visual artist recreated Native American on Horseback by Ronald Lockett for their group especially. The group is part of a program called STARS (Social, Therapeutic, Academic and Recreational Services) at the Center for the Visually Impaired in Atlanta, Georgia. This year-long program is for students with visual impairments and helps them “gain the self-confidence and skills necessary to thrive.” The Center for the Visually Impaired (CVI) is in Midtown Atlanta, less than two miles from the High Museum of Art. CVI and the High officially began a partnership in 2016 through a Museum Access for Kids contract from the Kennedy Center VSA. Through this partnership and others, High Museum staff have received training on working with visitors with various abilities.

Spider Man, Black Widow, and Captain America combine with skyscrapers, skylines, and life-sized pop art. Hands form clay and mouths elicit the spoken word. Creative Clay’s six-month Artlink Apprenticeship Program is yielding a diverse collection that will adorn the walls and fill the spaces of St. Petersburg’s Museum of Fine Arts. Collaborators work in tandem to create art that celebrates each partner’s unique talents and touches. These collaborators weren’t colleagues back in March when they met for their first Artlink session, but today, they’re partners, friends, and advocates. The Artlink Apprenticeship Program is one way that Creative Clay, a non-profit in St. Petersburg, Florida, creates accessibility for all through the arts. Artlink pairs a professional artist with a member artist from Creative Clay’s Community Arts Program, one of seven programs that serves individuals with neuro-differences.

When artists activate the social imagination and cultural practices bring people together, when new images and events claim or create public space, and when cultural organizing mobilizes people to action, art disrupts and influences social and political dynamics and discourse in the public realm. And, when funders shape programs to support this work, they too are influencers and activists in the public realm. As definitions of public art broaden to include social and civic practice, art in the public realm continues to recur as a central idea and practice. The concept of the “public realm” recognizes public space as more than physical places for locating art. They are connectors that support or facilitate public life and social interaction. In April, Americans for the Arts and The Barr Foundation released Programs Supporting Art in the Public Realm: A National Field Scan with snapshots of 28 programs supporting and building capacity for artists working in the public realm. The scan highlights how funders and cultural agencies are shaping programs to support artists for more place-specific and issue-specific work as well as cross-sector collaborations.

This summer, 24 Diversity in Arts Leadership interns from all over the country are working at arts nonprofits in New York City, New Jersey, and Des Moines, Iowa for ten weeks to explore and build skills in arts administration and leadership. This series will feature our DIAL NYC cohort in two parts. Six interns are profiled here and in a previous post, six more! For 27 years, Americans for the Arts has been hosting the DIAL internship program as an investment in a more equitable arts management field. Special thanks to DIAL interns Kadiatou Balde, Andrea Lewis, and Carlos Nuñez for writing, curating, and taking photos for this post!

This summer, 24 Diversity in Arts Leadership interns from all over the country are working at arts nonprofits in New York City, New Jersey, and Des Moines, Iowa for ten weeks to explore and build skills in arts administration and leadership. This series will feature our DIAL NYC cohort in two parts. Six interns are profiled here and in a later post, six more! For 27 years, Americans for the Arts has been hosting the DIAL internship program as an investment in a more equitable arts management field. Special thanks to DIAL interns Kadiatou Balde, Andrea Lewis, and Carlos Nuñez for writing, curating, and taking photos for this post!

At the Americans for the Arts’ Annual Convention this past June, quite a few members voiced concern about the upcoming U.S. Census. In many communities, there is worry that an inaccurate count could negatively impact towns, cities, regions, and even states, and disproportionately affect people who are already marginalized. This blog is meant to give information on the Census, its impact, and what arts and culture agencies across the United States are doing to ensure a comprehensive and equitable count. The U.S. Census is a consequential tool for distributing time, attention, and money in all sorts of ways—including ways that are deeply impactful on the arts. It is also an increasingly politicized tool, and as we round the corner into the 2020 U.S. Census, it is important to understand what the U.S. Census is, what it influences, what the implication of certain proposed changes could be both generally and for the arts, and how arts and culture agencies and organizations are mobilizing to ensure a fair, full, and unthreatening U.S. Census count.