Arts Intranet

In addition to the elevation of Vice President Harris, a woman of both Black and South Asian descent, to the highest position in U.S. government history, the highlight of Inauguration Day for me was the recitation of the poem “The Hill We Climb” by Amanda Gorman. At the age of 22, the nation’s first Youth Poet Laureate called to us to “rebuild, reconcile and recover” as we, “diverse people,” work to emerge “battered and beautiful” from the weight of all the pandemics. I have tremendous and unlimited faith in young warriors like Amanda. One thing I know for sure is that it is imperative for all of us to listen to our youth; to give them the platforms to be heard, and allow them the opportunities to lead the way. Let’s support and encourage our young artists. Let’s make sure we make available the resources to mentor and foster their development. Let’s be bold enough to run side-by-side with them, and humble enough to stand behind them.

On Inauguration Day, we witnessed an explosion of arts, culture, and creativity in Washington, DC. Arts and culture were the backbone of the entire day—they carried the symbols of a broken country knitting itself back together, they celebrated our history and articulated visions of our shared future, they consolidated in striking images and economical language the whole complex ethos of a new presidential administration dedicated to unity, hope, and an American Renaissance. It was an inspiring thing to see, and hopefully bodes well for the position, and support of, arts, culture and the creative economy in the Biden/Harris Administration. In the days and weeks to come, President Biden will step into complex negotiations to build and then pass first the American Rescue Plan, a $2 trillion relief package, and then a subsequent large-scale workforce and infrastructure recovery bill—and this is where the rubber meets the road when it comes to how much, and in what ways, the new administration thinks about the centrality of arts, culture, and the creative economy. There can be no national recovery, no American Rescue, without the creative economy, and the 5.1 million creative workers who make it up. 

2020 reinforced just how much we depend on data and storytelling to drive conversation, make decisions, and take action. Throughout 2020, Americans for the Arts collected data and stories from over 20,000 artists and creative workers across the country whose personal and professional lives were upended by the coronavirus pandemic. What we've found has been sobering, such as 95 percent have experienced a loss of income and over 60 percent are unemployed. Though the crisis rages on, it is important to reflect on how artists and creative workers fared in 2020, and especially emphasize the experiences of those who are and have been intentionally marginalized. Over the next few months, I will share research highlights in a blog series called The Impact of COVID-19 on Intentionally Marginalized Artists and Creative Workers. 

“How do you measure … measure a year?” I won’t even try to measure the sum total of the dumpster fire that was 2020. But looking back on one of the most difficult years of our lifetime through the readers of ARTSblog paints an illuminating—if not entirely unexpected—picture. In a year when social media was often loud and angry (though also entertaining—if only our blog could skateboard to Fleetwood Mac while drinking cranberry juice!), ARTSblog remained a steadfast space for our members and the arts & culture sector to learn from each other, share our struggles and successes, and most of all stay connected in an unbelievably isolating time. The year’s most read blogs reflect how 2020 shaped the field’s fears and furies, but also our hopes and optimism for the present and future of the arts.

When I look into the future, my vision is a little blurry. The year 2020 caused me to reflect in a way I never have before. In a year of uncertainty, the last thing I would like to be is unsure of my path. My wariness mirrors my feelings towards the arts and culture field, which is my career focus. The arts are struggling as performance venues, museums, dance centers, and so many other large and small arts organizations closed their doors due to COVID. Not only do the arts have to navigate the current state of the world, but there is another issue that plagues the field, namely racial inequity. Along with the pandemic, the ongoing conversation of race and the treatment and lack of representation of African Americans in the arts and entertainment sectors came to the forefront. Unfortunately, the demand for equality is still prominent, after years and years of constant toil. As much as I put my chosen career path on a pedestal, the arts struggle with this issue as well, making it harder for Black people to excel to higher positions or step foot in the door at all. You would think that a field that relies so much on diversity, and champions itself on representing different ideals and backgrounds, would have more representation. The sad truth is that the arts are far behind in the race for equality, equity, and inclusion.

Originally from Brazil, Andressa Furletti is a multidisciplinary artist based in New York. She is the co-founder and artistic director of Group Dot BR, New York’s only Brazilian theater company. Group Dot BR's mission is to present Brazilian culture through the performing arts. It serves enthusiasts of multicultural arts, contemporary, physical, and avant-garde theater. Group Dot BR's productions always incorporate the Portuguese language (with English subtitles when present), offering audiences the opportunity to connect with the sound and musicality of the Brazilian language. In the wake of COVID-19, Group Dot BR initiated the NY Brazilian Artists Fund to support immigrant artists from the Brazilian community in New York facing financial hardship because of the pandemic.