What do beer, cocktails, and ice cream have to do with art? Well, when done creatively, they can be used as vehicles for your museum marketing messages to reach new audiences and visitor attendance goals.

Since the beginning of military conflict, music has played an essential role. Humans have been using their voices and creating instruments to produce sound for at least 10,000 years. It was inevitable that our need to create organized sound would extend to war. Before the advent of electronic communication, drums, fifes, and bugles were used to give commands in training and in battle. Along with this functional use of music, traditional songs were carried into the military for comfort and camaraderie. Shared song was a distractor on long marches, a way to bind Soldiers from different backgrounds, and a source of motivation to fight the enemy. Those shared musical experiences provide context and meaning that is vital to psychological and emotional recovery after war, and helps Veterans stay connected to each other and their service. This bonding force helps them tell their story to the public at large so the public truly understands the sacrifices they made, which can help to bring us all together as a nation.

It’s hard to believe that another National Arts & Humanities Month has come to a close. We want to thank all of you that helped us celebrate the arts and humanities in October. Launched more than 30 years ago in honor of the 20th anniversary of the National Endowment for the Arts, celebrations now take place across the country and range from local proclamations to mayor’s arts awards to Creative Conversations to public art premieres and more. This year, we set out to learn what you were doing at the local level, and you did not disappoint! Thanks to our new National Arts & Humanities Month Interest Form, and of course social media shout outs, we are able to share some of the amazing things you made happen this month. Here are just a few of the things you shared with us.

Through Akron Community Foundation’s “On the Table” conversation hosted at Western Reserve Hospital, we determined a need to address the lack of diverse artists and accessible art in the community. The arts proved to be a powerful way to forge meaningful connections by transcending barriers of class, race, gender, background, and so forth. The project brought people together in new ways that benefited the community by sharing the stories of historically marginalized voices. Moreover, displaying art in businesses served as an accessible entry point for those who might not feel welcomed or comfortable in traditional art spaces. This project also served as an economic driver by opening the local businesses to new markets and reinvigorating downtown Akron. By creating a map and social media hashtag, community members were exposed to new businesses on their journeys to view the artwork. At the end of the year, some of the businesses even created their own partnerships with artists and arts organizations to display work.

Content presented by the Institute of Financial Wellness for the Arts (IFWA).

As arts professionals, we value the importance of exploration, play, and experimentation—these are vital to the creative process. At the same time, as professionals, we also know that the key to success for any creative venture depends on taking action—and that requires discipline and a plan. Not unsurprisingly, a large number of artists and arts professionals tend to be more impulsive and less strategic when it comes to managing their finances. Some of this is a long-standing cultural misconception—believing (incorrectly) that artistic endeavors ought to be unencumbered by financial realities—and some of this is circumstantial: a lack of access to educational resources or sound financial advice. At The Institute of Financial Wellness for the Arts, we’ve spent a lot of time understanding the unique financial challenges and constraints that arts professionals face. Here are some of the strategies and tips our financial coaches come back to time and time again. 

It generally happens like this: The door to our museum opens—and in comes … a former military brat … or spouse … or a veteran with his or her family. Most of the time, they’re from out of town and have been following us on Facebook, planning a trip to our museum when they visit Albuquerque—or they were just driving along Route 66 and happened to see our sign. No matter how they got to the Museum of the American Military Family & Learning Center, their reactions are almost always the same: “I had no idea what to expect…” and then “Oh—this is amazing!” Because people process things differently, we capture military family history in as many formats as possible. The museum is educational, experiential, and interactive. It’s a mixture of practicality and whimsey—take our living room, for example—with its props of starched uniforms on an ironing board complete with iron, starch bottle and laundry basket, its cozy sitting area where we have discussion groups or watch DVDs on TV, or its exhibits, with panels of facts and figures. Visitors become a part of the museum, by simply being there.

Inspired by Kathy Hirsh-Pasek, a nationally recognized speaker and early childhood expert, Summit Education Initiative has started an Akron Play Book of its own. In collaboration with ArtsNow and The University of Akron’s EX[L] Center, SEI established an internship in which students were to design and implement simple, educational art installations that families with young children could interact with as they go about their daily activities. They would be installed in North Hill, a racially and ethnically diverse community, on September 8, 2019 during First Serve, an event that brings together over 800 individuals of different faiths and backgrounds to volunteer on service projects across the city alongside each other. Art doesn’t have to take place on a stage or in a gallery, with a clear boundary between art and audience. It can be an interruption from everyday life. It can instill lessons and develop skills. It can be a Laundromat theatre, or a grocery store card game, or even a bench.

In the past, we saw art as a passion—not a business. But today, with the popularity of online shopping sites like Etsy and the growing number of community arts and craft shows, more and more artists are creating a thriving business from their art. Couple that with more creative outlets for musicians and actors, and it’s no wonder why dynamic arts communities are scattered throughout the country with growing opportunities for artists to become entrepreneurs. To help support and guide artists in Akron, Ohio, Summit Artspace is helping these highly right-brained individuals with the business side of things. In fact, evolving with the needs of the artists, this nonprofit community art center organization is revamping its strategic plan and mission in 2020 to focus on connecting artists and artist-serving organizations to the community and to the resources they need to thrive professionally, creatively, and financially.

Gaps in perception. Limitations of perspective. Failings of imagination. We can call them many things, but we all have them. And when it comes to building audiences for our arts organizations, they can really cause us trouble.

Sometimes the inspiration for a sensational idea can be as simple as looking out your window and seeing a city on the rise. For Bobby Wesner, co-founder and artistic director of NEOS Dance Theatre, the city of Akron, Ohio, and its upward trajectory served as seed for his highly imaginative concept: “Akron Ascending, an Identity in Dance.” Preparing site-specific works on iconic staircases throughout downtown Akron to develop an ongoing public conversation between artists, dancers, and space was so out-of-the-box inventive, it earned him a win from the Knight Arts Challenge in September 2019. With a prize of $30,000, Wesner plans to turn his idea into reality by hiring dancers, researching interesting and appropriate staircases, and running social media and advertising campaigns to invite the public.

Creative Conversations are on fire! This year’s Creative Conversation theme, How is the past shaping the future of the arts?, is sparking dialogue across the country. So, you may be asking yourself, “What exactly is a Creative Conversation anyway?” Well, I’ve got an answer for you! Creative Conversations gather together arts and community leaders to discuss local arts, culture, and creativity. These conversations help to foster cross-sector and inter-sector partnerships and promote increased energy around the grassroots movement to elevate the arts during National Arts & Humanities Month (NAHM) in October. Creative Conversations can take on many forms. They can be informal brown-bag lunches with colleagues, professional development workshops, panel sessions with politicians, and even full-day symposia. Participants have learned about the state of their local arts and culture industry, explored new ideas to strengthen their community with the arts, and ignited connections that spurred movement and actions that work to ensure everyone has access to the transformative power of the arts.

You never know when that “aha” moment might strike. For Magical Theatre Company in Barberton, Ohio, it happened 22 years ago when co-producing director Holly Barkdoll walked across the street prior to a performance to get change for the box office. Always inside the theater readying for performances, she never really saw the people coming to their shows, so she was surprised to find a line of people wrapped around the building. How wonderful, she thought, that the show was going to sell out. But then she realized that the line actually was going to the building next door—a local soup kitchen. At that moment, it struck her: while some families were waiting in line to see a play and be entertained, others were just trying to survive and find a meal. That moment inspired her and her husband, co-producing director Dennis O’Connell, to use their theater as an outreach to help disadvantaged children in Northeast Ohio.

October is National Arts & Humanities Month, a time to celebrate and champion the arts locally and nationally. The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts bring us joy, help us express our values, and build bridges between cultures. The arts are also a fundamental component of a healthy community—strengthening them socially, educationally, and economically—benefits that persist even in difficult social and economic times. The effective arts advocate needs a full quiver of case-making arrows to articulate the value of the arts in as many ways as possible—from the passionately inherent to the functionally pragmatic. To help fill your quiver, I offer an updated Top 10 Reasons to Support the Arts.

It’s officially October, which means National Arts and Humanities Month has arrived! We’re excited to have you with us for the largest annual celebration of the arts and humanities in the nation. NAHM is coast-to-coast recognition of the importance of arts and culture in the United States. Launched by Americans for the Arts more than 30 years ago as National Arts Week, this celebration began in honor of the 20th anniversary of the National Endowment for the Arts and the tremendous work that they have done in every congressional district across the country. In 1993, the week was reestablished as a month-long celebration, and we want you to get involved! We’ve worked hard to make participating in NAHM easy for you. Read on for ways that you can be involved as an individual, an organization, or a community, including joining in our special NAHM events, and for inspiration from communities across the country that are celebrating. 

I count myself incredibly lucky to have been able to tour to Burning Man thanks to the good graces and coordination of the Reno Arts Commission, the U.S. Conference of Mayors, and Burning Man itself. I was part of a group that primarily consisted of mayors and their staffs from across the country, as well as Nora Halpern, my colleague here at Americans for the Arts, and Mary Anne Carter and Tom Simplot from the National Endowment for the Arts. We were there to experience first-hand the deep community nature of Burning Man; the ways that art, creativity, expression, and culture are solidly integrated into every aspect of the event; and the complex undergirding that makes it all possible. There is freedom in coming to a temporary city to transform yourself into a different, freer version of you. That freedom exists in the way people dress, the way they act, the art they make. It is creativity untethered—70,000 people rolling back all of the strictures that keep us who we are in the day-to-day. 

My son, Odin, surprised me and my husband at birth with a rare genetic syndrome—Treacher Collins Syndrome (TCS). It affects the development of the bones and soft tissues in the face. Most affected individuals have underdeveloped facial bones, very small jaws, cleft palates, and no outer ears. Odin was rushed to Children’s Hospital Colorado on his 3rd day of life; his stay lasted for three months. I am not going to sugarcoat it—those three months were hard. I witnessed my son undergo two intrusive surgeries. For days I couldn’t pick him up and hold him. I had to put away his layette and my going-home outfit I had packed before his arrival. I gave away my nursing clothes. His nursery at home sat empty. Our own home became a truckstop—a pass-through for us to rest and eat. We practically lived at the hospital. Pablo Picasso once said, “Art washes from the soul the dust of everyday life.” If that’s true, my soul during those three months was covered with the thickest mud. 

When I was awarded a Practicing Artist Scholarship to attend this year’s Americans for the Arts Annual Convention in the Twin Cities, I was eager to find myself surrounded by other fervent promoters of the arts in individual localities from around our nation. I did find impassioned people, but I also found that an inner conflict of mine has deepened: As an artist, I’m not sure that I should be involved in this effort to fund and execute public art. This notion has danced in and out of my mind for the last few years, particularly regarding the role of artists and public art on the negative effects of gentrification and the affordable housing crisis. During the conference, I felt the tension between my excitement about increased federal spending on the arts and my skepticism that those monies will be used on careful, conscientious policymaking that allows for neighborhood improvement without giving in to the seemingly ubiquitous phenomenon of displacement. Rather than answers, I have come away with more questions. How is public art involved, whether inadvertently or directly, in the pushing out of low-income residents, minoritized groups, and even artists themselves? And how are artists implicated in this process?

Many performing arts groups and venues are working towards inclusion of their whole communities—both on-stage and in the audience. Today we’re beginning to see special performances and additional accommodations for audience members with disabilities. This movement towards inclusion can include toned-down lighting, sound, and special effects to accommodate people with autism. It may involve sign language interpreters and captioning devices to assist deaf audience members, or large type or Braille programs and audio descriptions on headphones for a deeper understanding of what is happening on stage for those with vision challenges. But inclusion doesn’t stop at the audience. It includes the stage, as well.

I attended the 2019 Americans for the Arts Annual Convention in Minneapolis, Minnesota. It was amazing to be in a place with thousands of other arts supporters and enthusiasts. I was among artists, researchers, educators, community organizations, politicians, board members, and so many others. All of us came together to learn, share, network, and champion the cause of elevating the arts in our communities. There was power in the sheer number of people who traveled from all over the country to be in attendance. All of us traveled individually—one by one, to come to one place for one reason: the arts. We came together to advocate, connect, and support the power of the arts in America. I believe the African proverb: “If you want to go fast, go alone. If you want to go far, go together.” In those simple words, the proverb teaches us the blueprint for monumental progress. 

“You mean an artist made this for us?” A student with a visual impairment is seeing a work of art for the first time at an art museum. The student had just been told that a visual artist recreated Native American on Horseback by Ronald Lockett for their group especially. The group is part of a program called STARS (Social, Therapeutic, Academic and Recreational Services) at the Center for the Visually Impaired in Atlanta, Georgia. This year-long program is for students with visual impairments and helps them “gain the self-confidence and skills necessary to thrive.” The Center for the Visually Impaired (CVI) is in Midtown Atlanta, less than two miles from the High Museum of Art. CVI and the High officially began a partnership in 2016 through a Museum Access for Kids contract from the Kennedy Center VSA. Through this partnership and others, High Museum staff have received training on working with visitors with various abilities.

Spider Man, Black Widow, and Captain America combine with skyscrapers, skylines, and life-sized pop art. Hands form clay and mouths elicit the spoken word. Creative Clay’s six-month Artlink Apprenticeship Program is yielding a diverse collection that will adorn the walls and fill the spaces of St. Petersburg’s Museum of Fine Arts. Collaborators work in tandem to create art that celebrates each partner’s unique talents and touches. These collaborators weren’t colleagues back in March when they met for their first Artlink session, but today, they’re partners, friends, and advocates. The Artlink Apprenticeship Program is one way that Creative Clay, a non-profit in St. Petersburg, Florida, creates accessibility for all through the arts. Artlink pairs a professional artist with a member artist from Creative Clay’s Community Arts Program, one of seven programs that serves individuals with neuro-differences.

Content presented by the Institute of Financial Wellness for the Arts (IFWA).

If you’re an employee of Veterans United Home Loans, one of the “100 Best Companies to Work For” on Fortune magazine’s 2019 list, you might be invited to a crawfish boil or a party “welcoming the seventh employee named Emily to a department.” Hilton, the hotel company, provides massage chairs for workers on break. And many companies routinely offer stock bonuses for innovative ideas. But for arts organizations operating on lean budgets, those employee perks are impractical. Young actors, dancers, musicians, and arts staffers have more pressing needs than crawfish boils, and one of the aims of the Institute of Financial Wellness for the Arts (IFWA), launched in 2018 and expanding nationally this year, is to provide advice on handling money to artists of all stripes.

On July 16, 2019, the Joliet City Council voted unanimously to establish a Joliet Arts Commission. At over 170,000 residents, Joliet is the third largest city in the state and was, until recently, the largest city in the Illinois to not have an Arts Commission or Arts Council—and the community felt this void. On August 6, 12 of the 17 members of the arts commission were appointed. The process of starting an arts council (or local arts agency) was not an easy one and involved input from many voices from the community. Here are a few voices of the artists, educators, and community members who have been advancing Joliet’s cultural and artistic landscape leading up to this milestone.

The Jewish Arts Collaborative was new to public art when we commissioned Julia Vogl to create Pathways to Freedom in 2018. Our priority was to take the Passover Exodus story and make a universal story of freedom, exile, and immigration—relevant to all in the Greater Boston community in a major way. It was a bigger undertaking than our staff of five really understood, but we knew that Julia’s commitment to digging into individual stories and beautifully featuring them was just what was needed in our community. We took a leap of faith on a project of this size and cost—and this is what we learned.

When a Jewish organization wants to make an artwork accessible to all—it has to reach out to all in the making of the work. That’s what I and the Jewish Arts Collaborative, a Boston arts organization, did together to explore the meaning of the Passover holiday. To me, the themes of Passover were already universal—leaving oppression, seeking a new start, ending up in limbo for years as you find a new home. The Exodus story is the story for many refugees today, one of how seeking freedom is about liberation but with a responsibility, too. Because the Pathways to Freedom artwork was going to surround the Soldiers and Sailors Civil War monument on Boston Common, at the city center, I wanted to be as inclusive as possible in making the work. So, I created a pop-up cart and with the JArts team and a band of volunteers, we travelled across the Boston region. Our mission: to engage people on the subject of freedom and immigration. 

What if you could score a mural the way that you can score a movie? A unique project from painter Joshua Mays and DJ King Britt answers this question. In West Philadelphia, Dreams, Diaspora, and Destiny comes to life through an augmented reality app (MuralArtsAR), weaving together interviews with community elders, neighborhood sounds, and beats created by local students from The Haverford School and Mastery Charter’s Shoemaker Campus. The final mural evokes perspective and curiosity, invitations to meaning, and possibility through cosmic awareness and cultural connection. The artwork is intensely rooted in the neighborhood, and best experienced in person, but ultimately we wanted this public art to be accessible to folks farther afield—the final app includes a feature that will “create” the mural experience right in front of you, wherever you are. 

Five years ago, I remember feeling profound sadness and disappointment when I thought about the condition of too many buildings in my town of Eagle Butte, South Dakota. Not only were the structures in rough shape; graffiti tagging had further defaced them. I’ve been the executive director of the grassroots, nonprofit Cheyenne River Youth Project since 1988, and three decades of youth development work here on the Cheyenne River reservation have taught me that our young people need to find healthy ways to explore their identities, find their voices, and share their stories. That’s fundamental to who we are as Lakota people, because for us, art is life. And without a positive outlet for so much youthful creative energy, vandalism is inevitable. I found myself wondering if CRYP could make a difference. In 2014, we invited a professional graffiti artist to complete a mural in town and provide lettering classes for our teens. We didn’t know it then, but this little test project was the proverbial pebble thrown into a lake, and the ripples are still expanding.