Arts Intranet

Life is about change. In less than 3 months, the youth arts organization I co-founded ten years ago will be merging into a larger organization, and my role will change dramatically. As much as this has been a thoughtful and deep process of exploring, analyzing, and talking through all the parts of this merger, there are moments when I get nervous and rely on my creative practice to help me stay grounded. At this point in my career as an arts leader, I am certain that the tools I use as an artist are critical for any leadership role.

In 2011, the California Alliance for Arts Education began its Title I Initiative as a way of clarifying misunderstandings about the appropriateness of using Title I funds to support arts strategies and a guide to action for schools and districts seeking to embark on the work. Four years in, we’re delighted to see that the Initiative has taken root around the state, as well as resonating with some other states pursuing similar agendas, particularly in anticipation of the Every Student Succeeds Act (ESSA)’s devolution of much decision-making power to the state level.

In a nutshell, federal Title I policy clearly allows schools and districts to include arts education in their strategies to achieve Title I goals. Downstream of the federal level, however, the Alliance found that there was a lack of clarity about whether and how the arts could play a role in Title I. Coupled with the culture of “fear of reprisal” that seemed to permeate the Title I world—where funding could be retracted if a program didn’t meet state or federal expectations—this lack of clarity was proving an insurmountable barrier. Schools and districts, it seemed, were either electing to ignore the opportunity to include arts education in their strategies for achieving Title I goals, or were moving forward in a way that would draw no attention to those practices.

For me, it all started the third week on my job, in June 2003, at an arts marketing conference hosted by the California Arts Council (CAC) in Sacramento. Right in the middle of the luncheon, someone came bursting into the banquet hall announcing that the Legislature was about to "zero out" the CAC. We conferees leapt up from our rubbery chicken and raced the two blocks to the Capitol. Engraged arts administrators stormed into the ornate office of the Senate Pro Tem, screaming at the staff, and demanding to see the Senator. I grabbed one of my board members, and we slipped out to see if we could meet privately--and quietly--with our local reprentatives.

Being an artist is a really grueling and unrewarding career choice, almost all the time. We all strive to find more moments when everything feels worth it. If you are going to commit your life to an industry that basically guarantees that you're going to live poor, you have to have a really powerful reason. For me, it's the moment when an audience member finally gains new insight and compassion for their transitioning son; when fellow artists are brought to tears as they are reminded of the power of art to create change; when community members see themselves authentically represented onstage for the first time. As the Managing Director of a theatre company, those moments also come when I am able to meet (and surpass) fundraising goals, pay the artists working for me, and having community members beg the box office for tickets that don't exist, because we've sold out every performance.

Equity can only be achieved if students of need can perform at the same level as their peers who have the benefit of financial access. If the end goal is artistic excellence, regardless of socio-economic status or ethnicity, we must develop a funding model that provides deep access to training for students at the onset of their arts education journey.  

Colburn’s mission is to provide performing arts education at the highest level. The organization is uniquely situated to provide access and equity because Colburn offers a complete sequential learning program in the arts for children aged 7 months through college. There are no limits to the heights at which a Colburn student can achieve.

For the last four years, The California Alliance for Arts Education has been pursuing its Title I Initiative, an effort to clarify confusion around the appropriate use of Title I funds for arts education programs, and to provide tools to school leaders on the ground for planning and implementation. For us, the initiative is not just about finding ways to provide more access to arts education—it’s about providing a high quality education, full stop, for every student. That high quality education must and should include the arts.

Visionary school districts aren’t satisfied with offering music and arts education only at schools with affluent students. Leaders in these districts know the imperative of equitable access to learning in the arts.  

However, the desire to provide arts education on the part of school leaders does not always translate into the capacity or even the know-how to make it happen. In California, the curriculum contraction that began in the early 2000s along with cycles of budget cuts, reduced arts education infrastructure, and diminished teacher training pipelines have left our state’s education field unprepared for a rapid restoration of the arts in schools.

At Bloomberg Philanthropies we recognize the enormous potential of public art to enliven neighborhoods, drive foot traffic to local businesses, bolster tourism, and inspire people to live and work in places identified with creativity. So in October 2014, we launched the Public Art Challenge to support temporary public art projects that catalyze urban growth, contribute to local identity, and promote creativity. In addition to generating exciting work in cities and seeding strong public-private partnerships supporting culture, we hoped the initiative would encourage local governments across the United States to view artists and the arts as resources for addressing civic priorities in real and transformative ways. 

Jessica Cusick retired as the Manager of the City of Santa Monica Cultural Affairs Department on March 3, 2016. Starting the job in 2005 she took a staff of three and grew it into a powerhouse of 21 to serve a city of 90,000 residents. She also created municipal programs through planning, policy, creative communities, public art and artist residencies to bring the work of writers and coders, planners and planters, poets and visual artists free to city audiences.

It’s been a few months since I joined the Americans for the Arts team and I've had the opportunity to learn a lot about the interesting and diverse work that you're doing and how our tools, resources, and member network are helping you get it done.

We often share your stories in our member e-newsletter Monthly Wire, but I wanted to dig a little deeper into some of your projects and programs and really get to know your work. I'll be jumping in periodically to share what I'm learning about member activity so that you can get to know each other a little better and to find some new, creative ways to use your membership!

Maybe “to certify or not to certify” was our original question, but when in September and October last fall we convened teaching artists around the state of California, it became clear that consensus is emerging that the real question is “how to certify with integrity, flexibility and proper support”.

Nearly 200 teaching artists participated in person and in written responses in regional conversations focused specifically on the issues surrounding questions of professionally strengthening our field. One of our core strengths is the depth and diversity of pathways artists take into teaching artistry, with a continuum from self-taught, informally or formally mentored, individualized training, and formal academic training all providing valid and challenging forms of professional development. With increasing calls for teaching artists to step up and step in as partners in education, social services, social justice and community settings, our collaborative network thought it was high time we grappled head on with the challenges of documenting competence and making mastery visible.

In the new Hewlett Foundation report, Moving Arts Leadership Forward: A Changing Landscape, John McGuirk, Hewlett’s Program Director for Performing Arts, urges the arts field to reimagine leadership. The report summarizes Hewlett-supported research and previews their new goal to broaden the Foundation’s arts support to embrace cross-generational leadership and advance shared values of diversity and innovation. The findings and recommendations are strategically intended to prepare the field “for a future that is rushing toward us.”

Oscar season is upon us and rather than debating who will win Best Picture or Best Actor/Actress, the debate has been how “white” the Oscars are.  #oscarssowhite went viral and African American actors began to boycott. As a result, the Academy (which is 94% white) responded by making the bold move to change their composition to reflect more diversity.

The Oscar issue is reflective of a much larger issue across all sectors of the arts; lack of diversity. I just returned from the annual meeting of American’s for the Arts and all of their advisory councils. This issue was front-and-center over the three-day meeting, as it has become a top priority for AFTA. As I sat and looked around the room I could see why.

Americans for the Arts is excited to debut a new conversation series, Artists & Communities, highlighting the voices of artists and arts practitioners working across sectors and within communities. Over the next ten months, we will publish ten conversations between pairs of established and emerging community arts leaders as they share their visions for, experiences with, and challenges to making healthy, equitable, vibrant communities through arts and culture. As community-based work receives more recognition, and intersections and collaborations become stronger, these conversations illuminate just how artists and community arts leaders can work to sustain and maintain healthy communities through their practice.

First up: Liz Lerman, choreographer, performer, writer, educator, speaker, and founder of Dance Exchange, and Deana Haggag, Director of the Baltimore-based nomadic museum The Contemporary.

In June 2015, Silicon Valley Creates, a regranting organization in San Jose, California, with a thirty-plus year record in providing funding opportunities for the local arts and culture community, made a bold move–for us. We took a first-time experimental step in investing in capacity building, specifically to elevate the conversation about product relevance.

A foray into the Monterey History and Art Association’s December 2012 exhibit, “Flows to Bay,” totally altered my outlook on how to communicate action on environmental issues. A small exhibit, it featured a variety of art using discarded plastics from the marine environment to demonstrate how they detrimentally affect our planet. I do not consider myself an artist, so the lenses I view the world through are primarily those of an environmental scientist. But what I saw hooked me, and its strong yet captivating message gave me new insight into a way to frame environmental degradation through art. 

Each December, I have the pleasure to reflect alongside colleagues of the Americans for the Arts’ Arts Education Advisory Council about what happened in arts education in America over the course of the previous year. It is truly one of my favorite activities – a chance to celebrate big accomplishments, learn from incidents that were not-so-good, and identify trends which may crop up in our work in 2016.

Last year, as we looked back over 2014, we discussed STEAM, creative youth development, standards, new reports, resources for specific student populations, mayors and more. Some things continued this year, and some things did not – check out the list below!

When a potential supporter for creative youth development approaches me, one of the first things I tell them is to look at the numbers. This model works. Students who participate in rigorous, arts-based after school programs perform better in school and have higher graduation rates than that of their peers who do not participate in the arts. I reference programs such as The Wooden Floor in Santa Ana, Say Si in San Antonio, ARTS in San Diego – the results are impressive. It is at this moment that I have their attention. I have connected my work to something they value: academic success.

“The function of education is to teach one to think intensively and to think critically. Intelligence plus character—that is the goal of true education.” As we reflect on the life of Dr. Martin Luther King Jr. this week, I was reminded of this one of many, but not often cited, quotes by Dr. King.

Recently, the Arts Education Advisory Council of Americans for the Arts met for its midwinter meeting in Los Angeles. We spent much of our time discussing equity and the need for access to the arts for all students, pre-K through high school. We took a tour of the Colburn School, an outstanding music conservatory with numerous community engagement programs. The mission of the Colburn School is to admit students who have tremendous artistic promise and provide them with full tuition, including room and board, so that they can focus solely on their musical careers.

At the October Grantmakers in the Arts (GIA) conference, artist Rosten Woo described the Vendor Power! project, a poster/brochure initiated by the Center for Urban Pedagogy (CUP) and designed by artist Candy Chang to make comprehensible New York City’s most commonly violated street vending rules which are buried in hundreds of pages of impenetrable bureaucratese.  For thousands of vendors whose first language is not English, the Vendor Power! poster became an essential tool, directly helping them to understand their rights, avoid fines, and know how to respond when approached by police. Woo reported with satisfaction that, following CUP’s distribution of 10,000 posters, the Dept. of Consumer Affairs seized the poster’s power to address a longstanding institutional problem and printed another 10,000. Here the system took action to change a problematic practice.  If only evidence of change was always so clear!

I became aware of the recent flurry of activity around the reauthorization of the Elementary and Secondary Education Act (ESEA) almost accidentally; the acronym ESEA was hardly familiar when I first heard it. I was at a California Arts Council meeting, our discussion in full view of the public, and the tape was rolling for posterity. I had been riffing on the entire NCLB experience as it had affected arts education, especially the past nine years (!!) of non-authorized, non-replaced limbo, when a staff member mentioned optimism about the upcoming Senate vote on the new bill, the Every Child Can Achieve Act. Later it passed by an 81-17 margin and now we await a House vote and most likely a bill on President Obama’s desk this fall.

At The Ramon C. Cortines School of Visual and Performing Arts in downtown Los Angeles (known as Grand Arts High School) we have produced an original music video – Dream It! Do It! –directed and choreographed by Emmy, Golden Globe, NAACP Image, Drama Desk, Astaire and Olivier Award winner Debbie Allen.  Read more to watch/read more about this inspiring video! 

Editor’s Note: Ashley McDonald, Membership Associate at Americans for the Arts, interviewed our member Felicia Shaw about her work in the arts field. At the time of this interview Felicia was in the process of transitioning from her role as interim executive director of Young Audiences of San Diego to her new role as executive director of the Regional Arts Commission (RAC) in her hometown of St. Louis, MO.

AM: Can you describe your role at St. Louis Regional Arts Commission (RAC)?

FS: My job at RAC will be to assume the leadership role of a local arts agency that has had an impressive 30-year history of growing the arts and culture community throughout the St. Louis region. I’ll be working to preserve the vitality of a successful organization that is ready to grow to the next level, particularly at a time when St. Louis is turning the corner and looking to the future. I am charged with establishing a vision for RAC and strategically moving the organization forward in a new and impactful way for the next decade and beyond.

During my 30 years at Americans for the Arts, I have had the great privilege to visit and learn about a different community nearly every week. While they differ vastly from one another, there is one common strength I have observed: the arts have made a profound impact on the health of each community.

Across America, in communities of all sizes, a rising population of arts action heroes -- both individuals and organizations -- are stepping up, armed with the tools of their craft and a vision of how their work in the arts contributes to the well-being of a community.

I was thrilled to sit in on the “Vocabulary for Arts and Arts Education” session at Americans for the Arts' Annual Convention this year. All three presenters—Christopher Audain, Kevin Kirkpatrick, and Margy Waller, along with moderator Margie Reese—were all on point for the session and I perhaps overtweeted in my enthusiasm over what they shared.

As I left the session, I started focusing on what Kevin presented on changing the conversation about arts and culture. Arts Midwest recently released the study Creating Connection: Research Findings and Proposed Message Framework to Build Public Will for Arts and Culture, which examined how existing attitudes and values of our audiences connect with our field’s message output. The study suggests reframing arts activity to be “creative expression” will have a more effective connection to broader audiences, and that connecting with others, with their families, and with their inner selves is their largest motivation for participating in arts and culture.

Although each of us can probably recall a time when success could be defined as not losing (too much) ground, we all want to feel like our efforts have been worth the commitment and have made a lasting difference in some way.

During my ten years at ArtsEd Washington, we saw these rewards when we worked with school principals implementing the Principals Arts Leadership program to help them be effective instructional leaders for the arts. This program confirmed the importance of the principals’ role in the day-to-day provision of arts learning and also illuminated for us how difficult that role is to sustain without the context of a supportive school district publicly committed to the arts.

What a treat to be in Sweet’s Ballroom in Oakland, home-away-from-home for Duke Ellington, Count Basie, Frank Sinatra, Tito Puente, Dizzie Gillespie, Lalo Guerrero, Xavier Cugat, and so many more! And how wonderful for Sweet’s Ballroom to be a part of the Oakland School of the Arts, allowing their talented students to follow in the footsteps of the some of the greatest musicians in history. The convening on January 30-31, 2015, was made possible by CREATE CA, which brought together over 225 arts leaders from across California for two days of listening, working, and participating in learning about CREATE CA and its release of A Blueprint for Creative Schools (funded by the California Arts Council). Spearheaded by the amazing Malissa Feruzzi Shriver and others, this important work began in 2011 as part of the Education Leaders Institute (ELI) funded by the National Endowment for the Arts.

Across the country, the arts are changing: demographics are shifting, modes of artistic participation are becoming more diverse, and once segmented artistic practices are converging. These changes ring true for both public art and arts education, and over the past year these respective fields have been discussing their convergence.

The Public Art and Arts Education Programs at Americans for the Arts endeavor to explore this intersection, better understand the potential for collaborations, and create tools and resources for encouraging inter-sector cooperation.

As a first step, we have begun to research the shared space. There is an inherent connection between the intrinsic goals of both areas of artistic study and practice.

Public art and arts education have been collaborating informally throughout the past several decades, however as we move towards more formalized practices, the professionalization of both fields, and the siloed funding structures, it is vital to explicitly explore modes of integration and examples of best practices that can inform both arts professionals and decisions makers.

In Boston, a nonprofit organization called the Theatre Offensive came to the conclusion that the work they were doing – the work that their mission mandated – was stale. When the company was founded, it was a challenge to find live performances that addressed LGBT issues and contained LGBT characters. TTO strove to make that comment widely available in Boston. Now that theatre addressing sexual orientation and gender identity has become common in Boston proper, TTO’s adherence to its mission - to make queer-themed plays accessible - suddenly feels out of touch with the energy behind its founding.

David Bowie said “The future belongs to those that hear it coming.” As the arts sectors faces challenges of shrinking funding, aging audiences and wavering government support, professional groups, like Rising Arts Leaders of San Diego (RALSD), offer hubs of new ideas, fresh faces, and unjaded ambition. Leveraging our emerging leaders’ passion and talent, we can start to make real impact on our communities and the sustainability of the arts. But we have to act now!

Guided by Rising Arts Leader’s vision to Make San Diego an innovative, inspiring, world-class arts leader, the network took practicing leadership to a new level by creating solutions to the challenges that face our sector. Our steering committee started with a listening campaign; doing short surveys at networking happy hours, hosting workshops that brought together admin, funders and constituents, and through our annual Creative Conversation event, defined the five biggest hurdles in our city.