Americans for the Arts

 Based on 13 years of national research on integrating arts and culture into concepts of healthy communities, Senior Research Associate with the Urban Institute Maria Rosario Jackson observes how sound and worthy community arts programs with social and civic intention are often saddled with unrealistic expectations about the impacts that they might have on a community and the ways in which such impacts might be proved. In this paper, Jackson argues for a shift toward more realistic expectations of social impact and evaluation of arts-based civic engagement both on the part of

Available online as a pdf (or it may be ordered from the Kellogg website for free), this 116-page handbook from the Kellogg Foundation provides a framework for thinking about evaluation as a relevant and useful program tool: “For those with little or no evaluation experience, and without the time or resources to learn more, this handbook can help project staff to plan and conduct an evaluation with the assistance of an external evaluator.” A blueprint for conducting project-level evaluations, this handbook is an excellent resource and was written primarily for project directors

This piece suggests that the accountability movement is “setting a floor for minimum standards” (p. 84) and has consequences for effective social change work. Foundations, in particular, measure impact in terms of attentiveness to accountability standards, but this is a false measure of success.  Instead, the organization’s focus should be on its transformative value to society. Focusing on narrow measures of accountability is problematic, because, as Bare states, “For foundations, when they attempt to deconstruct complex social change agendas to create bite

In answer to the challenges that face corporate philanthropy in identifying a shared definition of impact measurement, the author sets out to assess current measurement practices, clarify what is needed in terms of impact evidence, and identify next steps. The article is organized into three conversations between key stakeholders engaged in corporate philanthropy. Although this piece is written specifically for those involved in corporate philanthropy, it provides useful insights for cultural agents about measurement and outcomes of key concern to corporations with which they may partner or

The authors suggest that traditional evaluation approaches (formative and summative) fail to meet the complex needs of social sector innovators. Instead, grantmakers should approach evaluation differently, specifically involving the use of developmental evaluation (attributed to Michael Quinn Patton). Through a review of literature, interviews, and case studies, this piece assists with putting developmental evaluation into practice. At the heart of this call for new evaluation approaches, is the encouragement of social innovation and change. Stanford University’s Center for Social

A May 22 Funder Exchange on Evaluating Arts & Social Impact, presented by Americans for the Arts’ Animating Democracy program and hosted by the Nathan Cummings Foundation, brought together funders, evaluation professionals, and arts practitioners to learn about concrete approaches and measures funders are using to understand the impact of arts and social change investments.

In October 2003, Detroit-based activist, cultural worker, and octogenarian Grace Lee Boggs energized and inspired a national gathering of artists, arts organization and community leaders, and activists with her speech at Animating Democracy's National Exchange on Art & Civic Dialogue. Boggs described a United States that is increasingly jobless; that jeopardizes its youth in a problem-wrought education system; and that is resented for its economic, military, and cultural domination. "Can we create a new paradigm of our selfhood and our nationhood?" she implored. In Boggs&

In “What Happened in New Orleans? Reflections on the National Convergence of Artists, Educators and Organizers,” Animating Democracy staff member Andrea Assaf reflects on her experience at the National Convergence of Artists, Educators, and Activists. Inspired by Grace Lee Boggs and conversations on art and social change at the Animating Democracy National Exchange on Art & Civic Dialogue, the National Convergence attracted more than 200 people to New Orleans inJanuary 2004. In her article, Assaf reflects on the impetus, unfolding, and impacts of this convening.

Animating Democracy has highlighted eight notable blog salons on ARTSblog, covering topics that range from humor's underlooked  role in social progression to the intersection of excellence and equity in arts and cultural practices. 

In November 2001, artist, writer, and educator, Suzanne Lacy participated in an Animating Democracy Learning Exchange in Chicago. She joined more than a hundred artists, cultural organization leaders, community partners, and scholars from around the country who were involved in arts-based civic dialogue work, most through the Animating Democracy Lab. In the shadow of September 11th and stimulated by artist Marty Pottenger’s exploration of the meaning of U.S. citizenship at the gathering, Lacy considers anew what it means to participate as an artist in civic life. Her essay, &ldquo

Dialogue specialist and clinical/organizational psychologist Patricia Romney offers an accessible review of the ideas of selected historic and contemporary philosophers and dialogue theorists including: Socrates and Plato, Mikhail Bakhtin, Paulo Freire, David Bohm, and David Isaacs, and considers the implications of their ideas for arts-based civic dialogue practice.  Romney shares her observations about a production of West Side Story that was never carried out due to a polarizing debate that ensued in the community.  West Side Story was seen alternately as an extraordinary

Drawing significantly on the experience of projects within Animating Democracy, as well as a broader sphere of community-based cultural work, this essay considers what value art and humanities can uniquely bring to discourse on important civic issues. It shares some of what the Animating Democracy Initiative learned in its initial phase about the opportunities and challenges of this arena of work, and how Animating Democracy's thinking was evolving regarding the role of the arts in civic dialogue.  First published on the