Americans for the Arts

With the 2016 arts advocacy season upon us, I’ve updated the popular “Top 10 Reasons to Support the Arts.” Changes this year include #3 with the updated BEA/NEA’s new Arts in the GDP data as well as the addition of the public’s support of the arts as part of a well-rounded education (#2).

These are just 10 of many case-making arrows to include in your arts advocacy quiver, but we know there are many more. What is your #11?

2016 is off and running, and guaranteed to be a dynamic presidential election year. Along with a new administration in Washington, five broad cultural and economic trends are sure to impact sectors across America--affecting our work in the arts in the coming years. Candidates at all levels of government will need to evolve positions on each of these trends so we can work more strategically to ensure that the arts continue to thrive and enrich the lives of every American.

With the start of a new year comes the start of a new General Assembly session, at least in my home state of Virginia, and also for three-quarters of our states’ legislatures. And for our state so begins the battle for increased funding for our state arts council—the Virginia Commission for the Arts. This Wednesday, arts leaders and supporters from across our Commonwealth will gather for Arts Advocacy Day when we will meet with our state representatives to plead our case. And just what is that case?

 “[Cultural activities] enrich and expand on my understanding of what binds us together as a community, where we have come from and perhaps where we are going.”
-ArtsFund Patron Survey, 2015

Arts advocates often talk about how cultural organizations play a critical role in creating a vibrant, thriving economy, in definining civic identity, and in building an engaged and connected population, but how do we support that claim? 

Happy New Year from all of us at Americans for the Arts! Together our work has helped transform America’s communities through the arts.  

Share with ARTSblog readers one way the arts helped transform your community in 2015, in the comments below and on social media! Tag us @Americans4Arts.

Congratulations on your success in 2015! We look forward to an exciting and productive New Year.

When a potential supporter for creative youth development approaches me, one of the first things I tell them is to look at the numbers. This model works. Students who participate in rigorous, arts-based after school programs perform better in school and have higher graduation rates than that of their peers who do not participate in the arts. I reference programs such as The Wooden Floor in Santa Ana, Say Si in San Antonio, ARTS in San Diego – the results are impressive. It is at this moment that I have their attention. I have connected my work to something they value: academic success.

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.

How does a hardworking artist become an economically thriving one? In today’s art world, talent alone is rarely enough. Without sufficient financial support, most artists will struggle to get ahead—or even stay afloat—but direct funding for the arts is getting increasingly harder to come by. In 2014, individual artists received less than 5% of the grant dollars awarded by nonprofits or state arts agencies for arts-related work [Sources: The Foundation Center; National Assembly of State Arts Agencies]. What’s more, the vast majority of support that individual artists receive from non-governmental institutions is filtered through fiscal sponsors, a step that not only creates an additional obstacle for artists, but also cuts into the total dollar amount that they receive.

If I ask what “C is for,” many of you reading this would probably respond by recalling the lyrics of Cookie Monster’s famous song. Throughout history, from the cave wall to the Facebook wall, art has forged connections by communicating specific ideas and emotions in a relatable, memorable way. The idea that art can be used not only to entertain, but also to communicate important messages, has been demonstrated effectively by educational children’s television shows. Numerous studies over the years have shown that children who watched Sesame Street programming outperformed their peers in English, math, and science, and had more positive attitudes toward school.

“The function of education is to teach one to think intensively and to think critically. Intelligence plus character—that is the goal of true education.” As we reflect on the life of Dr. Martin Luther King Jr. this week, I was reminded of this one of many, but not often cited, quotes by Dr. King.

Recently, the Arts Education Advisory Council of Americans for the Arts met for its midwinter meeting in Los Angeles. We spent much of our time discussing equity and the need for access to the arts for all students, pre-K through high school. We took a tour of the Colburn School, an outstanding music conservatory with numerous community engagement programs. The mission of the Colburn School is to admit students who have tremendous artistic promise and provide them with full tuition, including room and board, so that they can focus solely on their musical careers.

In this Blog Salon’s first post, Maurine Knighton opens with a quote from William Bruce Cameron, “Not everything that can be counted counts, and not everything that counts can be counted.” The second half of that quote – “not everything that counts can be counted” – speaks directly to why the work of the Evaluation Lab is so timely and essential to the advancement of cultural equity in the arts. Artists and cultural workers who are deeply embedding social justice in their work are at the margins of our sector in funding and their work is made invisible by the majority of established institutions. Additionally, the work they are doing is rarely summed up by the standard metrics that funders require –– statistics culled from box office receipts and demographic surveys. Measuring change is an admirable task that will be innovated from the ground, not the air.

I want to live in a world where there’s room for both studio artists and community artists.

I really want to live in a world where artists have the freedom to move back and forth between those two perspectives and – especially – to allow those two perspectives to inform one another.

I believe in art for justice’s sake, in art for learning’s sake, in art for discovery’s sake, in art for empowerment’s sake. I’d like to believe that when we say “art for art’s sake” we could mean any or all of that.

Evaluating the social and aesthetic efficacy of arts and social justice work requires disrupting mainstream evaluation practices that distort—or even undermine—the connections among art, culture, and social justice. We have the opportunity to embed creative, culturally relevant human-centered design into the way we evaluate our arts and social justice work. Our values and practices in our communities can be reflected in the way we evaluate our work.

“Not everything that can be counted counts, and not everything that counts can be counted.”  Undoubtedly, we’re all familiar with this quote, which is popularly but erroneously attributed to Albert Einstein.  (In fact, this statement first appeared in 1963 in Informal Sociology: A Casual Introduction to Sociological Thinking,” written by sociologist William Bruce Cameron.) 

Whether or not Einstein said it originally, there’s irrefutable truth in the statement. And, this idea causes us to think about two key aspects of evaluation and assessment: what’s the best way to measure what we believe we can, and how to deal with the “unmeasurable.” 

In 2014, Animating Democracy, in partnership with the Art x Culture x Social Justice Network (ACSJN) and the Nathan Cummings Foundation launched the Evaluation Learning Lab. The lab builds practical knowledge and resources in three areas as they relate to arts and social change projects and programs:  measuring social impact, evaluating artistic/aesthetic dimensions, and equalizing power in evaluation.

Over the past year, guided by the Lab’s theory of change, we’ve gathered 20 artists, arts practitioners, funders, and evaluators in learning exchanges that combined case studies, presentations and discussion around existing evaluation theories and approaches, analysis of current frameworks, criteria, guidelines, and tools, and development of new tools for ethical practices.

There’s a very specific reason we pitched a session to the National Arts Marketing Project Conference on behalf of the Philadelphia-based Wyncote Foundation.

In a year’s research in 2014, we set out to understand the conditions and capacities that are encouraging innovation in the deployment of digital technology in the cultural sector, particularly among legacy cultural institutions. 

In 1883, John Michael Kohler, who was in the business of making cast iron farm implements and cemetery crosses, looked at a watering trough and realized he could add four ornamental feet to transform it into the company’s first bathtub. 120 years later, that same innovative spark is what turned a simple dorm room project into Facebook, a $200 billion company that changed the world and ignited a new era in entrepreneurial innovation.

How many of us have had the conversation around Arts Integration and Arts for Arts sake? Value in both right? We know from countless examples and research studies that the best benefit to a child is to have a arts specialist, arts integration AND a teaching artist to provide the ‘expert’ outside perspective. This is something I know in my core –something I teach my graduate candidates at CCNY. So I had to laugh when it took me nine years to apply this same structure to the teaching of Advocacy –which I did for the first time this year and the results have been triumphant! 

Did you know September is National Preparedness Month (NPM)?

Have you reflected on the significance of the ten-year anniversary of Hurricane Katrina? If so, have you been inspired to take steps in your arts organization to make it more resilient?

For South Arts, National Preparedness Month and the ten-year anniversary of Hurricane Katrina are momentous with the two occasion’s eventually giving rise to ArtsReady, a national initiative which has a mission to make emergency preparedness a high priority in the arts.

All across the country, students are back in school and this month, and Americans for the Arts and KRIS Wine are teaming up again to support arts education.  The arts can positively impact the entire school culture—especially student motivation, attitudes, and attendance— and research further demonstrates the myriad benefits of an education in the arts.  Recognizing these facts, Americans for the Arts and KRIS Wine are proud to announce the launch of the sixth annual “Art of Education” contest. Through this program, KRIS will award 16 winning schools a total of $25,000 in grants to support their arts programs.

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.

Some may not have known, but Saturday, June 27th was National Post Traumatic Stress Disorder Awareness Day. In 2010, Congress named June 27^th PTSD Awareness Day. They later declared the entire month of June 2014, National Post-Traumatic Stress Disorder Awareness Month.

Support for the nonprofit arts in the U.S. is a mosaic of funding sources—a delicate 60-30-10 balance of earned revenue, private sector contributions, and government support. The arts sector relies on contributions to keep its cultural products and services affordable and accessible to our communities.  We pay close attention to philanthropy because even small fluctuations in contributed revenue can be the difference between an arts organization broadening its reach or facing a deficit. Every year the Indiana University Lilly Family School of Philanthropy publishes their annual Giving USA analysis on philanthropy. Their latest report shows that 2014 was a very good year for the arts.

We are in a springtime of mixed messages in America. Some graduation ceremonies feature stories of great opportunity by commencement speakers, while others are solemn events where graduating seniors are simply processed out the door toward an uncertain future. Clearly, some systems and communities are doing a better job of preparing our children for a creative, successful future. The arts can make a difference between these two outcomes--while there are certainly many other factors involved, the arts are proven to make a positive difference toward graduation and a better learning experience. That is why Secretary of Education Arne Duncan said that arts education, or the lack of it, has become "a civil rights issue in America." And The Conference Board's Ready to Innovate study found that employers want 21st century employees who are creative; this age of innovation demands a creative workforce. At the top of the list for how to become creative is having the arts in the curriculum when the young people were in school.

If your city had a new construction company move to town, this would be good news – more jobs, more economic activity, and more tax revenues to be collected. How about if your city received funding from your state to widen a road? Again, you would probably welcome this news with open arms. Now, think about a new arts organization moving to town. Would you look at this group with the same economic lens that you used to look at the construction or transportation business?

Welcome to Americans for the Arts blog salon on Corporate Social Responsibility!

This week, you’ll hear insights from corporate leaders who are using arts and culture as a tool to advance their corporate social responsibility goals—as well as for community and social good—and the artists, administrators, and cultural workers who partner with them to advance social good through the arts.

This salon is an extension of Corporate Social Responsibility and the Arts by Lynn E. Stern—a report released in January by AFTA’s Animating Democracy program that surveys the current landscape of corporate support for arts and culture. The report drew from 16 interviews with corporate executives from StubHub, Deutsche Bank Americas Foundation, Time Warner Inc., Boeing Corporation, and many others to offer a first time snapshot of the ways in which corporations and corporate foundations are using arts and culture to achieve corporate social responsibility (CSR) goals. We invite you to read the full report , and to join us this week blog posts from new voices weighing in on the topic.

As I reflect on the recent National Arts Advocacy Day and the several hundred visits to the offices of our Congressional representatives and senators that took place, I can think of hundreds of stories to tell. Each of the nearly 550 arts advocates from all fifty states, members of Congress, and artists who joined us in Washington, D.C. to advocate for the arts on Capitol Hill came with a story about how the arts have transformed them and the people around them. To many, the arts have brought hope and fortitude, been a partner in solving community problems, and provided Americans with role models, identity, and opportunity.

There’s absolutely nothing revolutionary about leadership development. All across the country (and the world) opportunities to enhance and develop one’s professional skills seem to be popping up in every corner. But when the Arts + Business Council of Greater Philadelphia (ABC) won a challenge grant from the John S. and James L. Knight Foundation, we chose to take leadership development in a direction that encouraged arts administrators to not just think about themselves as nonprofit leaders but as Leaders, with a capital “L”.

According to Americans for the Art’s latest Creative Industries Report, the City of Philadelphia has the fifth highest percentage of arts-related jobs in a comparison of the 100 largest cities in nation (4.94%, including both for-profit and nonprofit creative industries). At number five, our creative community is both ahead of the pack and has room to grow, and what better way to grow this sector than to invest in its leaders.

The Georgia Aquarium had 3.5 million visitors in its inaugural year. This massive launch earned the cultural institution notoriety, donations, and public affection. But, as the novelty of its exhibits dulled, attendance at the state-of-the art facility dropped by 40% in the ensuing years. This steep slide raised flags amongst the staff, who began to ask questions: Why is this happening? Is this normal? What can we do about it?

As I have segued from my nearly seven year stint as the Executive Director of the City of Los Angeles Department of Cultural Affairs and resumed my former role as a local, national, and international arts consultant, I have submerged myself once again in building bridges between the U.S. arts sector and the Latino/Latin American arts communities. Though these communities continue to take on more central roles in the U.S. dialogue, they are still marginalized.