Americans for the Arts

When recently asked how best to advocate for the arts in the current environment, U.S. Senator Tom Udall (NM)—co-chair of the Senate Cultural Caucus and chief sponsor of the CREATE Act—was unequivocal: “Start by telling every one of your Senators about the economic benefits of the arts.” This familiar refrain is one we have heard for decades from city council chambers to governor mansions to the halls of Congress—and it works. Arts & Economic Prosperity 5 does just that. It changes the conversation about the arts from that of a “charity” to one about an “industry” that provides both cultural and economic benefits to the community.

For the past year I have been traveling around the state of Ohio providing arts assessment professional development sessions to arts teachers, as a part of the Ohio Arts Assessment Collaborative. What we have discovered is that teachers, whether in large urban districts or small rural districts, all crave the same thing: They want to learn new skills to take back to their classrooms and to be able to connect with like-minded colleagues. They are typically enthusiastic to have a workshop in their content area with materials that they can apply immediately. They want to soak up as much knowledge as they can.

Elected leaders care deeply about the areas they represent and the views of their constituents who elect them every few years. They may not agree with what they think, but they do care to know what they think—and it is certainly one key factor that weighs on how they cast their votes, what issues they focus on, and what areas they deepen their knowledge. Since we know that ads bring attention to issues, inspire and educate the public, and mobilize grassroots, they are one great way to invite data and impact stories that can lead to policy change. And, we know that legislators read their local newspapers, so the message gets through.

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. 

At a time of volatile change, we must be relentless in voicing a strong and clear message. Learning more about our elected officials and then actively engaging with them will serve to advance pro-arts policies that will impact our society and communities for years to come. 

When the Arts Education Advisory Council met in Washington, one week before Inauguration Day, there was a feeling of uncertainty in the air. In our meetings we speculated on how this new presidency might impact the world of arts and education. The threat to eliminate funding for the National Endowment for the Arts hadn’t been voiced yet. The furor over Betsy DeVos as Education Secretary was just beginning. There was a sense of urgency in our conversation this year. What should we be doing in our communities to help be pro-active? At the end of our three days together, we were committed to advocacy work as never before.

Thank you to Patrick Courrielche (“Save the Arts by Ending the Endowment,” Jan. 25), who made an excellent case for protecting the National Endowment for the Arts and even increasing its appropriations. However, his letter needs to be read from the bottom up. Mr. Courrielche’s summary called for Congress and President Trump to create a robust, expanded national arts council, but that is in fact what the NEA is. 

We all know those hard working teachers who get up extra early and are in their classrooms long before students have arrived, preparing for the day’s lessons. These are the same teachers who spend their own money on extra supplies for their students. They stay after school advising various clubs to provide students more experiences in the arts. They go the extra mile to take their students on field trips to hear the local orchestra, or attend the art museum in their community. These are the amazing educators who love and care about the welfare of their students. How do we honor these individuals? I suggest an Awards Alternative.

This July, I was excited to help deliver the Arts Action Fund’s message to both Republican and Democratic audiences through ARTSSPEAK, the public policy forum series that is a core part of our ArtsVote2016 campaign. ARTSSPEAK discussions were centered around the transformative power of the arts on people’s lives, schools, and communities, with the ultimate goal of electing candidates that support doubling arts funding to $1 per capita for the arts. 

From exhilarating live performances to extensive corporate art collections to engaging community outreach programs, businesses all around the United States enrich the lives of their employees and people in their communities by partnering with the arts. But each year, ten companies go above and beyond—the BCA 10: Best Businesses Partnering with the Arts in America. 

We believe that art empowers us all. It inspires social change. It encourages community dialogue. It is a way that we connect with each other. Cuyahoga Arts & Culture looks forward to showcasing our tremendous cultural assets—and to helping visitors and residents alike find inspiration and beauty during their time in Cleveland for this important political event. 

When we propose to contribute toward making a place more healthy, equitable, and vibrant, we should be in and of the community—but not saving the people in it. 

Ohio is investing in arts education assessment in a BIG way. 

Edgar Smith, Chairman and CEO of World Pac Paper, LLC and BCA Executive Board Chair, gave closing remarks at a recent discussion on cultural equity and the arts, and the role that business leaders play in advocating for both the role of arts and the need for diversity in all aspects of the creative and business worlds. 

It has been three years since ArtsWave and I launched the city-wide company singing challenge CincySings in Cincinnati, and it is evident to our city that the unique choral competition has delivered on its mission to leverage the power of the arts to create employee engagement and excitement among the participating companies, and a renewed passion for the arts across the regional community. The sing-offs that lead up to CincySings have become a staple at some of the region’s largest businesses, including Procter & Gamble (P&G) and Cincinnati Children’s Hospital Medical Center, where it all began.

In a single weekend at Union Hall in Cincinnati, more than 100 people came together to tackle eight real-life business challenges from the city’s largest arts organizations during the first Tidal ArtsWave Art x Tech Challenge, presented by Fifth Third Bank. 

The result: working prototypes of apps that connect people with other art lovers, allow them to learn more about artists and venues, enable them to find discounts and buy tickets with the swipe of the finger, reward them for attending shows, and suggest new performances they should see. 

And those were just from the two winning teams.

Building partnerships is one of the most effective advocacy strategies we can employ. The right partners expand our reach and diversify our voice. Even more importantly, I believe we can supercharge our advocacy campaigns by engaging non-traditional partners.

Assembling a coalition that includes the art museum down the street, the arts education advocates around the corner, and the jazz group next door, is an important first step. But, have you ever tried reaching out to your local chamber of commerce?

There is one thing without which Arts Advocacy Day could not happen—State Arts Advocacy Captains!  Though Americans for the Arts’ State Arts Advocacy Captains are instrumental in fighting for the arts year-round, their work is also integral to the success of Arts Advocacy Day each spring.

State Arts Advocacy Captains are the eyes and ears on the ground in each state nationwide, serving to recruit the best and most dedicated advocates from their state to attend Arts Advocacy Day. During the months leading up to Arts Advocacy Day, captains make sure colleagues, artists, university students, and concerned members of their states know the importance of bringing your voice to Capitol Hill to meet with your Members of Congress directly in the fight for arts and arts education.  

A young dancer recently told me she would be so happy if architects of community change and innovation and planning came to her with a request to put her skills to work for her community. Nothing would make her happier as an artist.

She’s just waiting for the invite! So, why doesn't this happen more often? And why do artists find it so hard to get a seat at the community planning table?

In recent meetings about the role of arts in community building and development, including the four regional meetings of the New Community Visions Initiative this fall, participants from the arts told us that they have a hard time getting a seat at that table. They sense that people in other sectors don’t seem to take arts seriously as a community development partner.

As the leading organization for advancing the arts and arts education in the nation, Americans for the Arts' Federal Affairs team keeps its finger on the legislative pulse line of Capitol Hill and champions arts and arts education friendly legislation such as the newly passed Every Student Succeeds Act (ESSA)*. 

Americans for the Arts is also passionate about empowering positive arts and arts education policy at the state and local levels, where there is much less political gridlock and thus more opportunity for positive change to occur. Our State and Local Government Affairs team connects individuals to their respective State Arts Action Network (SAAN) members, tracks arts and arts education legislation at the state and local levels to study trends, and enables members to lead grassroots action on state and local issues through our e-advocacy tool, Voter Voice. 

It's the season of thanksgiving, and we have so much to be thankful for in a world that may, at times, seem less than hospitable.

This week, we celebrated Giving Tuesday – a reminder that while the Black Friday, Small Business Saturday, and Cyber Monday retail efforts are all important to the economy, the nonprofit world deserves equal consideration in terms of financial support for the good these organizations do in our communities.

Where would we be as a nation without our arts education nonprofit organizations?  Where would we be without art and music and dance and drama and poetry and theatre?

As I reflect on my nearly twenty years spent in the arts integration field, I feel blessed to have had a trio of amazing mentors in my life. Without these three women I certainly would not have had the career I have had. As a first year music teacher in Buffalo, NY, without a mentor, I wished that arts organizations could do more to assist schoolteachers in preparing students for field trips, and to help provide deeper experiences for the students. I dabbled in creating an independent study in arts administration to start to understand what the role of arts organizations could be in arts education.

On Tuesday, the 6^th of October, 175 businesses and arts leaders gathered together at the iconic Central Park Boathouse in New York City to honor the best businesses partnering with the arts in America at the annual BCA 10 Awards. Now in its eleventh year, this black-tie gala presented by Americans for the Arts’ Business Committee for the Arts brought an evening of stories and musical performances that testified to the ability of the arts to uplift and inspire.

I returned home from the Americans for the Arts 2015 Annual Convention in June with information and ideas swimming in my head, and hope rising in my heart for the optimistic future of arts education. There are numerous areas of the country where great things are happening to provide access to quality arts education for all children in a district, city, or county, depending on the location and size of the program.

Public schools are full of turmoil these days. Debate over the shift to the Common Core Standards that has taken place over the last few years is causing tension. Teachers are working overtime to figure out the new standardized tests that have been created by the Partnership for Assessment of Readiness for College and Careers (PARCC) to assess the new standards. People are concerned about the amount of standardized testing occurring in our schools throughout the year. Most recently, parents in some communities are taking action and pulling their children from taking the standardized tests.

The Gordon Square Arts District (GSAD), which is located in Cleveland’s Westside neighborhood, has four major goals – to improve the district’s streetscapes, to create additional parking throughout the district, to restore and renovate the Cleveland Public Theatre and the Capitol Theatre, and to build a permanent home for the Near West Theatre inside the district.

My fascination with cultural districts first started while living in Richmond, Virginia when the city announced the creation of an Arts District within the Broad Street Corridor. As an avid “culture vulture,” I had strolled through many First Fridays Arts Walks and attended a variety of performances at the newly built CenterStage performing arts center. I was thrilled to know the city recognized the potential impact culture could have on this area. Even after leaving Richmond for Washington, D.C. to attend graduate school, I continued to stay updated on the project and would bring it up in conversation whenever I returned to visit.

Robb Hankins

As part of ArtsinStark’s 20/20 Vision planning process, an Innovation Committee made up of ten community leaders created a strategy for positioning Canton and Stark County, Ohio as one of the 10 most innovative communities our size in America. One of the first initiatives we called the “Genius Awards.” In 2013 we began inviting companies to form 8-person teams to solve a challenge and come to the first Genius Awards, which were held on March 18 of 2014.

Here were our goals:

1) To have all kinds of companies to participate: high tech, manufacturing, law firms, banks, and newspapers.

2) To find a $5,000 sponsor, charge companies a $500 entry fee, and sell $25 tickets to the event.

3) To establish a “county innovation index” for improving the level of innovation in our county over time.

The Invite: We host one of the 60 united arts fund drives in America, so during our annual visit with company CEOs we planted the seeds for the “Genius Awards.” As soon as we got one of the biggest companies in the county to sign up and then banks and law firms, it got easier to sign up the rest. In the end, 13 companies agreed to send a team for year one. Here’s a link to the contract each company signed.

There is an old quote attributed to John Montagu, 4th Earl of Sandwich:

“If any man will draw up his case, and put his name at the foot of the first page, I will give him an immediate reply. Where he compels me to turn over the sheet, he must wait my leisure.”

This was the charge given to me by a business leader who needed to make a compelling case for government and corporate arts funding:

“Keep it to one page, please,” was his request. “I can get anyone to read one page.”

With the 2014 arts advocacy season upon us, the following is my updated “Top 10 Reasons to Support the Arts.”

Eric Rogers

Small places typically have small financial resources. That certainly describes the environment for Jay County (population 21,253), where Arts Place started in 1967. Small also often translates into limited audiences if an organization cannot reach beyond its traditional boundaries.

One way Arts Place has found to hurdle these obstacles has been to partner with our neighboring rural communities to create economies of scale. This approach also breaks some of the isolation natural to making the arts happen in places outside the urban mainstream.

Partnerships and collaborations have become second nature to Arts Place. While survival may have stimulated our early efforts, the benefits of such an approach have made reaching out to other communities and organizations our preferred way of making the arts happen.

Partnerships can be as simple as offering the same program in multiple communities. For example, Arts in the Parks, a series of summer workshops and community projects for children, requires significant overhead for planning, fund raising, and management during the program. But, by spreading the overhead amongst more than a dozen communities in five counties we created a more cost effective program.