Arts Intranet

The official "Beertown" time capsule.

In September 2010, dog & pony dc (d&pdc) began developing a new show starting with nothing but two books and a question. Our goal was to create an original work as a collective from start to finish; the only thing we knew about the end product was that it would be fully produced 14 months later. Well: we also knew that in this production we wanted to push the boundaries of “audience integration.”

d&pdc is an ensemble-based devised theatre company that creates new ways for audiences to experience theatre. We carry a self-described “healthy obsession” with defining the performer-audience relationship for each show.

“Audience integration” is a foundation of d&pdc’s devising process; the audience’s role in performance is discussed from each project’s birth to its fully-realized production. The approach is highly elastic. On one end of the spectrum: the role of the audience is as witness. At the opposite end: the event doesn't move forward without audience propulsion.

In 2010, we wanted to explore the more risky end. We wanted to create a show in which the audience members were active, vocal participants who ultimately determined the outcome every night. To do that, the audience had to feel compelled to act; they had to become invested and take ownership. In other words: they had to care.

What makes us care? “A crisis” was our initial answer.

Merit, Aesthetic and Ethical by Marcia Muelder Eaton

“Great art rewards sustained attention.” This simple theory comes from philosopher Marcia Muelder Eaton, professor emeritus at the University of Minnesota.

In my personal experience, it is true. Eaton has been considering art and writing about aesthetics for a few decades. Her early publications get to the heart of this definition but a later book, Merit, Aesthetic and Ethical (Oxford Press 2001) offers an inclusive concept of art, aesthetics, and value that is very relevant to the themes of Fusing Arts Culture and Social Change.

In that book, Eaton suggests that “formalists in the world of aesthetics ignore the roles that artworks play in the life of community and conversely, ignore the ways in which communities determine the very nature of what counts as artistic or aesthetic experiences that exist within them.” I recommend her writings in general and this book specifically.

I share Eaton’s work here because my enthusiasm for the conversation raised by Fusing Arts Culture and Social Change is not to call out the major institutions and question whether they deserve support, but rather to encourage sustained attention for small, mid-size, and community-based arts groups that are rooted in communities, neighborhoods, ethnic, and tribal traditions.

Angela Adams

Arlington County's public art program benefited greatly from our collaborative effort with Virginia Tech and Americans for the Arts mentioned in Dr. Elizabeth Morton's post from earlier this week.

Like many programs across the country, we are adjusting to the new normal of increased scrutiny of public spending as it relates to the arts. We are also adjusting to our recent relocation from the Department of Parks and Recreation to that of Arlington Economic Development and are just beginning to understand the difference in priorities between the two agencies and how these will impact our future work.

We are currently working on developing a white paper on the value of public art to Arlington through four lenses: community and social benefits; civic design and placemaking; economic; and aesthetic/experiential.

It is helpful that the field of economics has begun to look seriously at developing measurement tools for such intangible phenomena as human happiness or fulfillment as well as the intrinsic value of the arts, so there is an increasing body of literature to draw from here. The findings of the Virginia Tech students will similarly help us in making the case for how and why public art adds value to our community.

To summarize some of the more interesting (even surprising) findings of the four teams discussed in the previous post and their value to Arlington's public art program:

Tim Mikulski

Earlier this month, Forbes released another one of its ranking lists, which I assume are only created in order to gain attention and web traffic---"America's Most Miserable Cities."

This list is one that tends to pick on the same communities that have been forced into our heads as places you don't want to live, work, go to school, etc., yet, there are residents doing all of these things in each and every one of them.

As someone who used to work in Camden, NJ, one of those cities that is constantly appearing on Forbes' similar "America's Most Dangerous Cities" list, I understand what that label can do to the residents of a community that already can't seem to catch a break.

Which leads me to the fact that Forbes declared Miami #1 on the "America's Most Miserable Cities" list. Never mind the fact the author of the main post is their sports business writer, but the fact that such a vibrant city, known for its arts and culture is #1 on that list is a bit surprising.

Well, here is the criteria they used: "We looked at 10 factors for the 200 largest metro areas and divisions in the U.S. Some are serious, like violent crime, unemployment rates, foreclosures, taxes (income and property), home prices, and political corruption. Other factors we included are less weighty, like commute times, weather, and how the area’s pro sports teams did. While sports, commuting, and weather can be considered trivial by many, they can be the determining factor in the level of misery for a significant number of people."

Very scientific.

But there's more---a number of the cities on this list also appear on the "most dangerous" list, too. Talk about kicking a community when it's down.

Michael DeLong

With topics such as creative placemaking taking center stage in discussions around the arts, the question of how artists engage as citizens offers a dynamic opportunity for exploration.

On April 24, 2012, Emerging Arts Professionals/San Francisco Bay Area (EAP) convened a panel in San Francisco at Intersection for the Arts around the topic of artistic citizenship. Joining the panel were a healthy mix of artists, curators, teachers, architects, and administrators that included Julio Cesar Morales, Jennifer Parker, Randy Rollison, and Lizzie Wallack, with moderator Sanjit Sethi.

Born out of a series of discussions by EAP’s Public Programs fellowship, the event tackled a range of questions related to the role of the artist in the community.

You can listen to the audio recording (courtesy of Stacy Bond) below and read on for highlights:

Invoking the Public

The engaged crowd warmed up with small group discussions, covering a number of key inquiries. Creative problem-solving and knowledge-sharing featured among these sessions, although pointed questions also sparked healthy debate.

Alyx Kellington

Okay class, please open your civics book to learn about the United States and its government. Now turn the page and we’ll learn about state and local government. And turn the page to find out about elections, parties, vetoes---Hey! Wake up! This stuff is important.

How does one engage a class of 22 seventh-grade students in a discussion of civics?

For the past two years, Roosevelt Middle School in Palm Beach County (FL) has been involved in an arts integration pilot. Resource Depot, a cultural organization that collects reusable materials from local businesses and donates those items to educators, teamed up with teaching artist Jennifer O’Brien, and social studies teacher Cierra Kauffman to teach civics through the arts.

Challenged with making the House and Senate relevant to her students and still required to teach the vocabulary and concepts of government, Kauffman had to find a way to reach the kids and get them engaged.

O’Brien needed to find the art form that would work with the subject matter and the pace of the students.

Together, they focused on one aspect of government and decided to make a stop motion film on “How a Bill Becomes a Law.”