Arts Intranet

Kelly Seward

Spring is my favorite time of year because companies across Kansas City begin luring artists, writers, musicians, dancers, and filmmakers from their cubes for the sixth annual Art@Work corporate arts festival.

When the program began in 2007, I believed Art@Work was about showcasing the arts in all of its various forms. I know now that it’s about showcasing people.

Two years ago, Pat Wigley, a cable lineman at Kansas City Power & Light, created a sculpture of a wind-bent tree using the overhead line he works on every day. His co-workers awarded Into the Storm a first place ribbon and advanced Pat’s sculpture to our city-wide competition.

During the opening reception, I was approached by a teenage boy who saw the piece and wanted to know more about it. After we found Pat and his wife in the crowd, the boy energetically shook Pat’s hand and exclaimed, “It’s an honor to meet you, sir. You’ve inspired me to become an artist.” Pat looked confused but his wife absolutely beamed.

The two talked for a while about electricity,  wire-bending techniques, and inspiration. Before he left, the boy shook Pat’s hand again and said, “I’m going home to start making art right now.”

Buddy Palmer

I’m a fortunate community arts executive. I direct an organization, the Cultural Alliance of Greater Birmingham, which supports a vibrant ecosystem in the largest city, and cultural capital, of Alabama. Just a few years ago, in a public gathering, our former governor recognized Birmingham’s cultural sector as the region’s second greatest asset, just behind the University of Alabama at Birmingham, the state’s largest employer with a giant, nationally-recognized network of hospital and healthcare resources.

Birmingham lost one nonprofit contemporary art gallery in the recession; however, I am proud to say most of our organizations are being extremely resourceful at doing more with less. As nonprofits, we’re used to it, right?

And I’ve just received great news: the results of our local Arts and Economic Prosperity IV study show a more than 50 percent increase in annual economic impact from the data collected five years ago. We had an 80 percent survey-return rate from our organizations as compared with the national average of 43 percent. So, our cultural leaders are enthusiastic, capable, and determined to demonstrate our value.

We also have some important and encouraging signs as we move forward. The City of Birmingham is in the process of creating its first comprehensive plan in 50 years, and arts and entertainment tactics have been included in the area of "Prosperity and Opportunity" as well as "Housing, Neighborhoods, and Community Renewal."

Perhaps even more significant, "Blueprint Birmingham," a recently published economic-growth-strategy document commissioned by the Birmingham Business Alliance, our regional economic development authority, identifies "Arts, Entertainment, and Tourism" as one of only seven target sectors with the greatest potential for new job creation, retention of existing jobs, and overall wealth creation in the region. This recognition of the cultural sector as an engine for both community and economic development, when coming from unusual suspects, is a sure sign of progress.

Kathleen Chaves

In 2002, jobs were scarce in rural, isolated Baker City, OR, population 10,000. My husband and I decided to dedicate ourselves to growing our 20-year-old company, Chaves Consulting, Inc. from providing two jobs to creating 100 with a complete package of benefits.

At about the same time, another vision was being created by the Crossroads Arts board to have someone raise the almost two million dollars it would take to renovate Baker City’s historic 1909 Carnegie Library building to become their new home after spending much of its history without a permanent one. The Crossroads board asked if I would be the grant writer to raise the funding and manage the renovation project.

My husband, Richard, and my motivation for leading the project was based on the vision of how the arts could grow and make a huge difference in the lives of Baker’s children and families, as it had altered mine. I strongly believed that this project would provide children an avenue to express themselves and uplift them as it had done for me during my teenage years when I felt very disconnected and lost.

We believed that the arts could give children a voice who otherwise felt lonely and isolated. The arts saved my life and made me feel a part of something. I believed it could do the same in Baker. In addition, the renovated Carnegie building would give hundreds of adult Eastern Oregon artists an incredible space to share their gift.

Wendy Hawkins

It is hard to imagine a more visceral and impactful medium for connecting to an audience than film.  And if our goal is to bring about social change, what better medium for getting people to step up and take action than a well-made film?

I had the pleasure last week of participating on a panel on the topic of storytelling for social change – particularly around documentary films – at the 2013 CECP Summit.  There Joe Brewster told of the 13 years he and his wife spent filming their own son and his best friend as they embarked with great anticipation on the journey of their elementary and high school education – a journey that took them to some darker places and greater challenges than they had ever anticipated for this much loved son of a middle class African American family in New York City.  American Promise is deeply moving and delivers tough messages about the role of assumptions and biases in defining the world in which these boys grow up – beyond the ability of their parents to shape and control.

Rashid Shabazz of the Open Society Foundations and Program Officer for Black Male Achievement told of the process by which he and his foundation decided that this film had the potential to move audiences in ways that other, more traditional grants might never reach.

Valerie Beaman

Once, while waiting in a really long, slow line I overheard a very proper Bostonian advising a companion in need of a restroom to just “alter your thinking, dear.” And perhaps that’s what the arts need to do regarding corporate philanthropy.

Running the risk of rephrasing another Bostonian’s famous quote, ‘ask not what business can do for you, ask what you can do for business.’

The Conference Board recently released a new study, Making the Business Case for Corporate Philanthropy, which reveals a leaner, more focused, and transparent strategy for charitable giving. It is instructive.

Gone are the days of executive’s pet charities; philanthropy must now benefit the shareholders.

The economic recovery is being used as an opportunity to reevaluate corporate philanthropic spending. “It is no longer sufficient for corporate philanthropy to simply ‘do good,’” the report says. “If corporate giving is to succeed in the long run, it must provide a financial return.”