Arts Intranet

I work for a nonprofit organization where my title is the incredibly glamorous "Administrative Assistant and Database Coordinator."

Sometimes when talking myself up I like to say I'm the "Database Manager" as it sounds slightly more important. A couple months ago, my management was questioned when on a development call with the board chair the following bomb was casually dropped, "It's time for a new database."

I sat on the other end of the phone in horror. Sure, our database currently has lots of problems, but that's not because of the program, it's because of the data.

We have data imported from Sales Force, Sphere, Excel, Access, Oasis, Giftworks...the list is never ending.

The worst part of all: all this data was input, coded, and organized in different ways by different people. I am the Database Coordinator for a database to which at least seven different individuals currently access over 20 years of data. I spend a majority of my time cleaning up bad data, reorganizing and coding current data, and being contacted by upset staff who don't understand why their 19 slightly different codes were combined into a single one.

Bad data = bad database! Importing it into a new one isn't going to make it any better.

Raymond Tymas Jones

National Arts Advocacy Day is significant because it grants us an opportunity to gather as a community to reflect on the role of contemporary artists in the 21st century. No matter what the chosen art form, the passion to do art and to be art is born out of an insatiable yearning to make beauty, to make sense, and even to make waves.

As artists, we are summoned to bear witness of the truth of the human experience…the human condition and truth is more than simply facts. It is realness of life that is imbued with the psychological, emotional, spiritual elements of living that is not always easily accessible. It is this sense of urgency to communicate that artists find avenues to connect through music, theatre, film, dance, art, and literature.

For example, the powerful play by American playwright Stephen Adly Guigis, The Last Days of Judas Iscariot, explores in a witty, provocative, and sometimes-funny manner, questions about love and redemption through the story of a man who is considered the most notorious villain in human history. The genesis of this kind of art is the visceral reality that only comes from self-understanding. It is the quest for self-understanding that gives way to constant questioning, observing, celebrating, and revering the complexity, mystery, and beauty of humanity. Self-understanding fortifies us from self-deception and easy consolations.

We, as artists, are the first beneficiaries of the power of the arts to tell our personal story that mirrors our own realities. Each of us can be an alchemist, taking our ideas and understanding of the world around us along with our imagination and creativity to transform them into precious elements of universal elixir.

Julie Hawkins

Why advocate for public funding of the arts?

It's a question I've never really asked myself, because it's always been valuable to me.

I grew up in North Carolina during the height of the "Culture Wars." The summer after my junior year of college I interned in the budget office of the National Endowment for the Arts. One of the highlights of the internship program was a meeting with your U.S. Senators.

Thus it was that in 1993, at the ripe old age of 21 and full of piss* and vinegar, I got to meet the Hon. Jesse Helms and his staff to make my case for government support of the arts. I learned a lot about government and the arts that summer, and some of that piss and vinegar still fuels my passion for arts advocacy today.

I know that answering the question of why we should advocate for public funding is not easy, though, because if it were we'd see many more people engaging in it every hour of every day.

And to be perfectly honest, though arts advocacy and public funding are deeply held values of mine, I've still encountered moments where I wonder if it's working and if it's worth it, particularly in a period of time when we've experienced some substantial reductions to public funding for the arts.  

You've made a decision, and perhaps a leap of faith, to go to graduate school. You do your research, visit some schools, talk to faculty and current students, apply, and get accepted into your dream program. Voila.

You are now a student in an arts management program (in my case, at American University in Washington, D.C.)!

Now what?

There is no perfect recipe for success that works for everyone, but here are a few tips (more to come next week) and advice from some brilliant and passionate arts professionals as well as from my personal (well, professional) experience:

1. START WITH YOUR ACADEMIC PROGRAM

You are likely to meet people from various and very interesting professional backgrounds in your graduate program. Start with this inner circle.

For example, my classmates include a database manager for a nonprofit, a development associate at a museum, an orchestra manager, a stage manager, a music teacher, and an actor/director of a theatre group.

Steven Dawson

Emerging Arts Leaders Symposium (EALS) is an annual meeting for young professionals who work in the arts—organized, executed, and run by American University (Washington, DC) Arts Management students. It is an opportunity to discuss the issues, unique or universal, that affect all arts organizations.

One of the goals of the 6th Annual Emerging Arts Leaders Symposium is to address what is on the horizon for arts organizations and arts professionals.

With that in mind, we at EALS are very proud to announce that the opening plenary speaker for the event this year is Karen Brooks Hopkins!

Karen Brooks Hopkins is the president of the Brooklyn Academy of Music (BAM), where she has worked since 1979. As President, Hopkins oversees the institution’s 179 full-time employees and facilities, including the 2100-seat BAM Howard Gilman Opera House and 874-seat BAM Harvey Theater, the four-theater BAM Rose Cinemas, the BAMcafé, and the BAM Fisher–opening in fall 2012.

Since taking over as president of BAM in 1999, Hopkins has led the organization with stunning competency, riding the waves of financial and philanthropic ups and downs. The annual attendance has exploded, the budget has over doubled, and the organization’s endowment has almost tripled to over $80 million.

Charles Jensen

This week, hundreds of advocates are gathering in and around Capitol Hill in Washington, DC, to communicate to our national elected officials the value and impact of the arts on local communities, on families, on individual lives.

This is an important day, not just for the arts community, not just for our Senators and Representatives, but for the people served by us, those who cannot be in Washington having these conversations.

I’ve worked within and outside of advocacy over the course of my career in the arts, so I understand why arts administrators are willing to make the commitment to travel to Washington, or even to their own state legislature, to promote the value of the arts. I know there is confusion about what roles arts nonprofit staff can take in the name of “advocacy” without jeopardizing their 501(c)(3) status with the IRS.

And I know our arts leadership, those most likely to speak with legislators, are also our busiest, most called-upon experts, and often feel that devoting several days to the work of advocacy is the best they can do under their current circumstances.

But, friends, it’s not all. The work happening in Washington this week is the chorus of the song we sing all year long: the arts build communities. The arts turn around lives. The arts stimulate the economy.