The Dance/NYC Junior Committee (JComm for short) is a group of dancers, arts administrators, and advocates that includes emerging leaders from the field working to create positive change in the New York City dance and artist community through research, activism, and community support. Through this challenging time, JComm has been a community I could rely on for support and comfort. As “social distancing” became an increasingly common theme among social media feeds, the news, and even my favorite podcasts, I was concerned and disappointed that I wouldn’t be able to feel connected or stay close to this dear group during a time of panic. 

The effective arts advocate needs to articulate the value of the arts in as many ways as possible—deploying the right case-making tool in the right situation. Consider these “10 Reasons to Support the Arts” as your Swiss army knife for arts advocacy. Like so many sequestered at home during COVID-19, I write this while mindful of our challenging times, and yet inspired by how the arts still have found a way to permeate our lives. I have watched Yo-Yo Ma concerts online, visited the Smithsonian Museum with a click, and joined my neighbors for daily 6 p.m. outdoor singalongs. Even in this difficult environment, the arts are providing personal experiences and promote social cohesion (see tools #2 and #8 on your army knife!). While I am uncertain what we will look like on the other side of this crisis, tool #1 makes me optimistic that when it is time to stop practicing social distancing, it is the arts that will unify us. 

Like most of you, Americans for the Arts has been watching the breaking news about Coronavirus Disease 2019 (COVID-19) and we are seeing inquiries coming in from the field and through our national service organization colleagues. While gathering and sharing pertinent information, we are also working to understand the long-term effect on arts and culture activities from performance to festivals, touring artists, and school field trips. We are monitoring responses and preparations and will share more information as it becomes available. You can help us and the nonprofit arts field by sharing with us how you are responding in the immediate and in the long-term. There is still much to learn about the outbreak, and we hope the following information assists you in preparation for both you and your loved ones, your organization, and your community. 

In 2020, the convergence of Americans for the Arts’ Annual Convention with the refreshed and expanded Public Art & Civic Design Conference will spark a new level of conversation and thinking. The new shifts in format and structure that we’re setting up this year will make for an even more interactive and energizing conference, with over 50 sessions, more than 1,000 professionals from across a variety of sectors, and more opportunities to learn and network with colleagues from all 50 states and around the world. These two annual events—happening June 26-28 in Washington, D.C.—are the best place to come together with the full spectrum of people who are working to center the arts in equitable community development and creative placemaking. We are excited about holding these meetings in Washington, D.C. because the city and surrounding communities are about much more than national politics. It is a great place to engage in really deep and meaningful conversations about how we all work to make our communities the best they can be.

As we turned the corner into 2020, the Americans for the Arts staff put our heads together to come up with 10 big trends that we think are worth paying attention to this year. Together, these ten trends will inform Americans for the Arts’ next strategic planning process, which will occur this year to drive our work from 2021 to 2023. Some of them you’ll surely already know about—it is an election year, after all! But others may surprise you. From demographics to climate change to the creative economy and more, take a read and let us know what you think—what resonates most with you? What is top of your mind that is missing here? And what are you planning to do to prepare? 

Art is a connecting vehicle, bringing together people from different backgrounds and perspectives. It can shift attitudes and behaviors. Art can even spark a movement. Case in point is Collide: Cuyahoga Falls, a nonprofit organization dedicated to enriching the community through the promotion, creation, and appreciation of the arts in Cuyahoga Falls, Ohio. It began five years ago following another collision of sorts: conversations between Molly Hartong and Matt Weiss, who met through the Cuyahoga Falls Chamber of Commerce. Graphic designers by trade, Molly and Matt found they shared a mutual passion for the arts. They knew the importance of artistry and the benefits of being compensated for their work. Conversations began on the importance of art, support for artists, and the effect art had on their community. Based on these conversations and their own personal experience, they asked themselves a few simple questions: Is there an organization in the Falls that represents a strong arts community? Is an organization needed to effect change?

There is no “one size fits all” model when it comes to arts organizations. From performing arts, to museums, and arts education, our structures and operations vary widely; yet we often are melded into one pool of “arts organizations” when it comes to checking boxes for funding and other nonprofit classifications. As the Executive Director of COCA – Center of Creative Arts, a multifaceted, hybrid organization, I know first-hand how difficult and unhelpful it can be to benchmark our organization against others with different approaches and measures of success. One such benchmark is the ratio of earned to contributed revenue. Our operating budget is approximately 42% earned to 58% contributed revenue. Is our earned revenue too high? Too low? What should it be? The verdict is still out. Even when you encounter information on financial health of arts organizations, it tends to be more diagnostic than prescriptive. Despite the lack of definitive benchmarking data, I think most of us would agree that a diversified revenue portfolio is a positive step toward sustainability.

In the small city of Akron, Ohio, a group of artists organize as VIBE Collective. We are “a network of Northeast Ohio artists in the intersection of art, culture, and education, who seek to create spaces for community transformation and healing.” Throughout the organizing of our network, a breadth of knowledge arose from us as ones who have worked alongside institutions in partnership. We’ve often been on the receiving end of challenging experiences with businesses and civic and cultural institutions in all forms and sizes, and from those experiences have been able to curate a list of ways to partner with community artists. Our hope is that you will pass this list along to your organizations, colleagues, and staff. Together, we can build a brighter future through the arts.

As an arts lawyer, I often advise on a variety of copyright issues. Many artists realize copyright law is crucial to protecting the value of their work, but beyond that, the details of how exactly to use copyright gets lost in the shuffle. I’m hopeful this post will clear up some common areas of confusion! Copyright is an intellectual property right, or an intangible, nonphysical right. Put another way, copyright is separate and distinct from the personal property right to a physical work of art. Fortunately, copyright protection is easy to obtain: As soon as you create a work of art, that work is automatically protected by copyright! The key here is that, for your work to be protected by copyright, it must be “fixed in a tangible medium of expression.” In other words, your work must be committed to some tangible, perceivable, reproducible form. This “fixation” is required because copyright protects the expression of an idea, not simply the idea itself.

One can only wonder what Marshall McLuhan, who coined the phrase “The medium is the message,” would have thought about the Rest Stop Theatre Project, a novel outdoor mobile experience that takes place in the back of a beat-up pickup truck. Produced by Benjamin Rexroad and Kyle Jozsa of Wandering Aesthetics (an Akron, Ohio-based storytelling theatre company), Rest Stop Theatre featured a cast of four actors running through compelling non-partisan scenes designed to increase local voting participation in the 2016 presidential election. The rollicking performance included a bit of improv, sketch comedy, and audience participation—which Wandering Aesthetics has earned a reputation for. They put on 10 performances across different parking lots and neighborhoods in Akron, exploring the many facets that make up the culture of voting.

Recently I’ve been reflecting on my long career in education and am grateful for the many and varied opportunities. I’ve always been intrigued by collaboration in education, and if I had to select something that has the greatest influence on my work, intertwined with every job, it has been collaboration. About 10 years ago, I realized how much focus is put on collaboration and how little intentional action/planning/understanding is put into it. We expect adults and students to collaborate, but we don’t unpack that as a group or individually to make a greater impact on the success of the work. One guide for preparing students for the world is most often directed today by “the 4C’s” which includes critical thinking & problem solving, creativity and innovation, communication, and collaboration. I think it’s time to put some effort into unpacking collaboration before jumping into a partnership or expecting students to work in a group.

While many people go to the theater to relax and be entertained after a busy day, the moviegoers at The Nightlight Cinema go there not to get away from it all—but instead are seeking community engagement. Opened in 2014 in Akron, Ohio, this art house’s mission is to create a place where cinema and community exist in tandem. Open nightly, it provides a classy nightspot where patrons can enjoy the cinematic art form and explore new ideas as part of a thoughtful community. For instance, after the screening of Inside Akron’s Tent City, a locally produced documentary that premiered at the 43rd Cleveland International Film Festival, The Nightlight Cinema added extra show dates at its theater to keep the homelessness crisis at the forefront of people’s minds. The film resonated with the city in many ways and helped people empathize with those who are homeless.

As we ring in 2020, it’s the perfect time for a little hindsight (get it?)—so let’s get the year started with a look back at the most-viewed ARTSblog posts from our last trip around the sun. I know what you’re thinking: “It’s 2020 … you still have a blog?” We do, dear reader! Competition for online attention is fierce, and most virtual conversations (civil or not) seem to be happening in the comments of social media posts—and yet, ARTSblog clearly is still a valued place for our field to share experience and expertise as we navigate the varied complexities of what it means to work in the arts. There is no better place to learn from your peers, whether you’re an artist, administrator, educator, city planner, arts marketer, or countless other careers that intersect with the arts—and we’re grateful for all of the writers and readers who continue to make ARTSblog both a vibrant and practical space.

“How do I know my value?” That was a question posed by an artist in a recent workshop around Artists Statements, and if you stop for a moment, the question is profound. On one hand, there is a practical answer, one that we at Springboard for the Arts have been seeking to help artists answer for years. In our Work of Art: Business Skills for Artists curriculum, there is a whole section on pricing your work. You, as the artist, have to know what your target income is from your creative work, what the costs of your materials and labor are, what your overhead costs are. It takes research, and yes, you’ll have to do some math. But that question of value is even more than knowing how to price your work and where it might fit in to your market and economy. The question of value is inherently one about belonging and identity, and about being seen for the work you do.

The 2019 National Arts Marketing Project Conference in Miami, FL was my first arts administration conference and I had a wonderful time! As an individual artist cultivating diverse audiences as well as an entrepreneur serving clients across the arts ecosystem, #NAMPC was the most ideal professional development for both my artistic and administrative growth. 

When I moved to Brentwood, Maryland in 2004, I had no idea it was an arts district. As it turned out, the Gateway Arts District is a two-mile stretch of US Route 1 starting on the border of Washington, DC into Maryland, running through four municipalities (Mount Rainier, Brentwood, North Brentwood, and Hyattsville). Long before I moved here, a group of folks including local artists, community leaders, and elected officials came together to create a vision for future development along Route 1. They knew that these working-class neighborhoods, although overlooked by developers at that time, would someday be appealing. For years the story has only been, “Artists move into a neighborhood and make it attractive, and then the developers come in and move the artists out.” But because of the high concentration of artists located in these neighborhoods for years, the community put its energy towards cultivating “arts-driven economic development” to attract developers that would embrace the artistic community and keep what was so attractive: the arts itself.

157 years ago next week, the Battle of Fredericksburg took place—one of the bloodiest of the Civil War to that point. Following the battle, the giant Union and Confederate armies were camped mere shouting distance from each other, separated only by the Rappahannock River in Virginia. On a cold and wet evening, with both armies hunkered down and tending to their wounds, a band in the Union camp struck up a patriotic tune in hopes of lifting their side’s spirits. The Union soldiers cheered in appreciation. Not to be outdone, the Confederate band across the river then played their own patriotic tune—and the “Battle of the Bands” was on. 

In a society struggling to find equity and social justice, the arts improve the quality of our communities. They unify us and help us understand other cultures—benefits that persist even in difficult social and economic times. Like the thousands of soldiers celebrating that cold December evening, the research shows today’s public understands this as well. 

Humans’ entire recorded history revolves around wars as different cultures and ideologies collided. As sound is an intrinsic part of culture it was only natural for us to use music to rally our tribes and intimidate the “others.” Just as sound (music) continues to be used as motivation before battle, it also is used as recovery after conflict. There is a wealth of organizations, both within government and the non-profit sector, dedicated to providing music-based health services across the spectrum of need. Over the past two years I have been fortunate enough to be a part of the national initiative to advocate for these services and increase collaboration between organizations. It has been a journey of amazing discovery that I wish all people could take. So much advancement has been made in improving our health. The combination of modern medicine and age-old understanding of wellness are creating better lives across the globe. The need for creative arts therapies across the military continuum will increase. I envision a world where a member of our Armed Forces has a partner in music from the day they join and throughout the rest of their lives.

I’ve been called the “artsy-fartsy banker.” I started playing piano at age 5 and never looked back. As a farm girl from a rural town in South Dakota, the arts saved me. I’ve been in my role at Fifth Third Bank for 21 years and the company has grown to be an impressive arts champion. That’s not who our company was 21 years ago, but this is who we are today, and I couldn’t be prouder. With the right messaging, people now understand about the power of the arts: it’s an economic driver. People who have a love of the arts have more creative skills—they are more diverse, more innovative, and thus better businesspeople. When we have talent come in, they want to know about the arts scene in our company and community. We know quality of arts enhances quality of life of employees. We are at a critical juncture. Communities need to be strong and vibrant, which means we need the arts—and we must ensure that arts are accessible to everyone. In the future, I can see our relationships deepening and growing with the arts in our community to further achieve our civic and social priorities.

New York Foundation for the Arts (NYFA), founded in 1971, empowers artists at critical stages of their creative lives. One of the ways NYFA serves our mission is through our Immigrant Artist Mentoring Program (IAP) that has served more than 460 mentees since 2007. A large part of the success of this program is the fostering of communities and networks that enables participants and consultants to connect and collaborate to create more opportunities for artists to showcase their work and push their practice to new levels. A clear example of this is a recent NYFA/New York Live Arts (NYLA) collaboration initiated by Yanira Castro, a Puerto Rican, Bessie Award-winning artist based in Brooklyn, and Martita Abril, a performer, choreographer, teaching artist, and mentor of the IAP Program. With the goal of reflecting on the multiplicity of their experiences, identities, practices, and politics, these artists also speak to what holds them in common: the experience of displacement and disorientation, and the work of communicating/finding/forming community.