Located in Chicago’s Humboldt Park, the National Museum of Puerto Rican Arts & Culture (NMPRAC) is the only museum in the country outside of Puerto Rico dedicated exclusively to Puerto Rican arts and culture. Under Billy Ocasio’s leadership as executive director, the museum’s budget has tripled, staffing has grown, and visitor attendance has increased 67%. In 2012, NMPRAC was named the latest City of Chicago’s Museums in the Park, making history as the first new addition in over 20 years. “At NMPRAC, our vision is to be the premier organization that both influences and connects diasporic arts, culture, and history to evolving generations. Supporting both local and national Puerto Rican artists has always been important to the museum. To this day, finding new and creative ways to engage with our communities remains a top priority and can be witnessed through our programming, including the annual Barrio Arts Fest, various workshops, lectures, and panel discussions, as well as through exhibiting work from Puerto Rican artists.” 

Jenice Gharib serves as the grants program and policy director at New Mexico Arts (NMA), the state arts agency and a division of the Department of Cultural Affairs. NMA’s primary function is to provide financial support for arts services and programs to nonprofit organizations statewide and to administer the 1% public art program for the state of New Mexico. Gharib manages the department's Arts & Cultural Districts, Local Arts Councils & Service Organizations, Arts Trails, and Economic and Entrepreneurial Development programs. Her varied experience includes running an organic coffee company, starting a joint venture in Poland, and turning around a bankrupt cable TV company. As a writer, she has published articles, reviews, essays, poetry, and short fiction, and has had three plays produced. 

When Pericles convinced his fellow Athenians to build the Parthenon in 447 BC, he shared a vision that would reflect the magnificence of Athens and be a monument to democracy. He also knew it would be a post-war economic driver that would put thousands of citizens to work and attract visitors who would travel to see the architectural marvel. 2,500 years later, Pericles’s prescient understanding of the value of the arts to inspire, define a sense of place, and strengthen the economy remains evident. As government leaders work to position their cities and states for a post-pandemic recovery, new research shows why they too should look to the arts as an essential tool in their economic recovery arsenal. The arts are economic catalysts. They do not just reflect the state and local economy, but actually accelerate economic recovery. A growth in arts employment has a positive and causal effect on overall state employment.

The last year brought forward a spotlight on existing disparities in communities of color—access to health care, financial stability and generational wealth, and the ever-present public health crisis that is racism. In fact, communities of color have been significantly more affected by the pandemic itself and artists who are Black, Indigenous, and people of color (BIPOC) have been more negatively impacted by the pandemic than white artists, including higher rates of unemployment (69% vs. 60%) and the expectation of losing a larger percentage of their 2020 income (61% vs. 56%). Funders of all types, especially local and state arts agencies, must center access and equitable distribution of resources to fully support their whole community. Now is the time to consider how to restructure programs, build stronger relationships, and include communities of color, LGBTQIA+ communities, and the disability community in crafting solutions.

For the last two years, we at Americans for the Arts have spent significant time listening, learning, planning, and in consideration to engage in a multi-pronged, multi-year effort to support inclusive creative economies at the local level, encourage stronger unification between the for-profit and nonprofit arts sectors, and pursue federal-level policies that support creative workers. With encouragement from current and former members of the Private Sector Council, a broad cross-section of local, state, regional and national advisors, and through consistent commitment from the Board of Directors, we sought to identify our unique role and where we can effect change alongside the many organizations, coalitions, and individuals doing this work. COVID-19, and its irrefutable disproportionate effect on communities of color, has only increased the urgency of these efforts. We know that we must, with intention and alongside new alliances and relationships, design strategies for the aspiration of an inclusive creative economy—recognizing that our current economy does not equitably support all people to reach their creative and artistic potential. This is an exciting and critically important journey. I’m pleased to share our plan on behalf of my colleagues, and to invite participation and feedback in it. 

After spending 15 years in corporate marketing, Shayda Windle started her own creative services business, SW Creative Services, offering content creation, copywriting, and marketing campaign planning and execution to small business owners all over the country. Passionate about helping other entrepreneurs achieve their dreams of doing what they love—creating—Windle also is a freelance writer and has had articles featured in Plein Air Magazine, the Fairfax County Times, Loudoun County Magazine, and several online media outlets including Modern Marketing Today and Government Technology Insider. 

In addition to the elevation of Vice President Harris, a woman of both Black and South Asian descent, to the highest position in U.S. government history, the highlight of Inauguration Day for me was the recitation of the poem “The Hill We Climb” by Amanda Gorman. At the age of 22, the nation’s first Youth Poet Laureate called to us to “rebuild, reconcile and recover” as we, “diverse people,” work to emerge “battered and beautiful” from the weight of all the pandemics. I have tremendous and unlimited faith in young warriors like Amanda. One thing I know for sure is that it is imperative for all of us to listen to our youth; to give them the platforms to be heard, and allow them the opportunities to lead the way. Let’s support and encourage our young artists. Let’s make sure we make available the resources to mentor and foster their development. Let’s be bold enough to run side-by-side with them, and humble enough to stand behind them.

Located in Appleton, Wisconsin, the Fox Cities Performing Arts Center presents the best touring Broadway and performing arts productions from around the world. As president, Maria Van Laanen leads a dynamic team dedicated to delivering the Center’s mission of serving as a gathering place for the community to engage in educational opportunities and enhance understanding and enjoyment of life through the creation and presentation of the arts. “I am a passionate believer in the power of the arts to inspire and uplift an individual to see and reach for a life beyond their current circumstances and to gain a sense of community and belonging. When you scale that up to a community level, the arts have the power to bring people together in a unique way where they are willing to experience different viewpoints or ideologies in a way that might lead to understanding and acceptance.” 

A Director Emeritus and former Board member of Americans for the Arts, Brigadier General Nolen V. Bivens, U.S. Army Ret., is currently serving as our Interim President and CEO. He serves as Chair, National Leadership Advisory Council for the National Initiative for Arts & Health Across the Military, and Military community advisor for the National Endowment for the Arts Military Healing Arts Network Creative Forces program, among other roles. “As a senior military leader, I had to find answers to problems that traditional military training didn’t prepare me to deal with. Getting service members to address personal trauma was one of those problems. Following tours in Iraq and training to return, it became apparent to me that service men and women weren’t always taking care of themselves. Individuals who encountered some great trauma were not taking advantage of medical resources and it was showing up in all sorts of ways—from ever increasing suicides to family violence. They weren’t taking advantage of the traditional therapies available for various reasons such as fear of losing their clearances or being stigmatized as a weak leader. I found that many of them simply wanted to engage in activities which would free their minds of the stress they were experiencing. The arts were a way to do this without telegraphing the need for help.” 

Sasha Dobson has been the outreach coordinator for the Lied Center for Performing Arts since 2012. She serves as the primary project manager for the Master Classes for university students and community members, Pre-Performance Talks, and the Performance Fund program, which offers free tickets to youth in the community and their summer high school programs (Lied Center Triple Threat Broadway Intensive and the Lied Center Piano Academy).

This series features the many Americans for the Arts members doing transformative work for arts education, public art, advocacy, arts marketing, and more. An Americans for the Arts Membership connects you with this network of more than 6,000 arts leaders and gives you access to latest professional development and research. 

“How do you measure … measure a year?” I won’t even try to measure the sum total of the dumpster fire that was 2020. But looking back on one of the most difficult years of our lifetime through the readers of ARTSblog paints an illuminating—if not entirely unexpected—picture. In a year when social media was often loud and angry (though also entertaining—if only our blog could skateboard to Fleetwood Mac while drinking cranberry juice!), ARTSblog remained a steadfast space for our members and the arts & culture sector to learn from each other, share our struggles and successes, and most of all stay connected in an unbelievably isolating time. The year’s most read blogs reflect how 2020 shaped the field’s fears and furies, but also our hopes and optimism for the present and future of the arts.

Located in the historic 1850s gold rush town of Jacksonville, Oregon, Britt Music & Arts Festival is the Pacific Northwest's premier outdoor summer performing arts festival. Since 1963, Britt has annually presented dozens of summer concerts, featuring world-class artists in classical music, jazz, blues, folk, bluegrass, world, pop, and country music. President and CEO Donna Briggs oversees a full-time staff of 14 and seasonal staff of 45, manages the operations of a four-month summer music festival, and maintains relationships with internal and external stakeholders along with future supporters.