If we arts administrators thought we had a herculean task before us, imagine the plight of the placard-carrying savior seeking to shepherd the lost to atone for their sins as we walked along the Freemont Street Experience tonight. Little did she know we (and by we I mean me) were quietly judging the Barbara Krueger-esque (minus the art) aesthetic of her sign as we craned our necks to watch the specially commissioned Jenny Holzer truisms live on the biggest screen on the globe (self proclaimed.) As a jaded, ex-New Yorker who now lives in LA it takes a lot to impress me and a multiple block long LED light display filled with a few minutes worth of Holzer's truisms above head as the drunken gamblers stumbled along was just this side of transcendent. Thank you to all the Sinners who made that series of moments possible for me and the unwashed masses with their to-go cups.

Vegas, baby! Sin city, I wish her luck. Makes my work seem a little easier.

Meanwhile...back on The Strip...day one at the Flamingo, or really inside the flamingo.

The Dana Foundation recently convened a symposium in New York on "Transforming Arts Teaching: The Role of Higher Education" as part of their ongoing commitment to arts education, as well as to the role the arts play in the development of the brain. Participants included a wide array of people from around the country who are leaders in arts education, including people from arts organizations, academia, government and the funding community.  [The link above takes you a page on the Dana Foundation site that includes some video excerpts from the Symposium.] I had the pleasure of participating as well, and found it particularly relevant to the work we are doing in linking the arts and arts education to workforce development issues. The better job we can do of getting business to be active advocates for arts education because they see it of benefit to their bottom line, the more effective we can be at getting greater recognition and funding of arts education in our educational system which has been so damaged by the relentless focus on measurement of a handful of subject area skills. I thought it would be helpful to share some of the Symposium conversation through this Blog. It is a longish entry so please remember to click the "more" link to read the whole report! Dr. David J. Skorton, President of Cornell University, gave a stirring opening keynote on the importance of the arts in education. He is trained as a musician, and supported himself performing jazz while pursuing his education as a scientist, doctor, biomedical research and academic. His talk wove actual examples of music of different genres into his speech, as well as snippets of video from musical performances. He talked with passion of his belief that arts exposure, participation and training results in graduates who are both better human beings and better workers and contributors to society.

Americans for the Arts is proud to announce the release of Arts & Economic Prosperity III, our third study of the nonprofit arts and culture industry's impact on the nation's economy. These studies are the most potent and oft-cited advocacy tool used to justify public and private sector support to nonprofit arts organizations. This new study is our largest ever, featuring findings from 156 study regions (116 cities and counties, 35 multicounty regions, and 5 states). Data were collected from a remarkable 6,080 nonprofit arts and culture organizations and 94,478 of their attendees across all 50 states and the District of Columbia.

The post-graduation years are considered a rite of passage, where emerging artists navigate crushing poverty, unpaid internships, uninformed financial decisions, and rejection in order to emerge as bona fide artists. People use words like sacrifice and bootstraps. You’re expected to work for free in order to demonstrate your work ethic and “make connections” with important people. These connections, we’re told over and over, lead to paid jobs. Just not yet. Let’s look closely at these expectations through the lens of equity, diversity, and inclusion. In a field that is still white and male-dominated despite encouraging signs of change, those who hold privilege (economic, racial, gender, social, etc.) are better positioned to take the unpaid internships, get that one-on-one meeting with the artistic director, or convince the seasoned leader to take them on as an assistant. How can we better prepare aspiring artists from all backgrounds to enter this field?

I conducted my first survey of local arts agencies in 1991. It was all paper in those days. We didn’t even ask for fax numbers because too few had one! Over the years we have fielded dozens of local arts agency (LAA) surveys—some were short and easy to fill out and provided useful information, but lacked adequate depth; others were comprehensive and extremely informative, but were too long and hard for respondents to complete. While the paper surveys became online surveys and technology has made distribution more expansive, what remains as pressing as ever is the need for reliable, relevant, and easily accessible information about the LAAs—research that provides early alerts about new trends, drives discourse about how the industry is evolving, and simply allows LAAs to see how they compare to their peers. In 2018, Americans for the Arts implemented a new annual survey to accomplish just this—The Profile of Local Arts Agencies. There are multiple ways you can put the Profile findings to work for you! 

In America, I have the opportunity of expressing myself through the arts, and now my work as an arts leader is rooted in helping students achieve by learning through the arts. As an arts advocate and educator, I have the privilege of contributing to the education of diverse students, many of whom represent a wide array of languages, learning modalities, and backgrounds. I play a part in helping them express themselves through the arts. All of us have an identity, but the arts help students find the special and unique qualities that make them who they are. The arts are essential to education in America. Music, dance, visual arts, theatre, and creative writing courses broaden the educational experiences of students. Such experiences offer opportunities for students to create innovative solutions, to build community, and to foster their sense of self. The arts have a place in the balanced educational experiences of students all across the county.

What does it mean to center equity in your investment strategy? And why is that important? Cultural equity is critical to the arts and culture sector’s long-term viability, as well as to the ability of the arts to contribute to healthy, vibrant, equitable communities for all. If the field is not investing in the artistic and cultural traditions of every aspect of their community, then we are not fulfilling our purpose. Each year the United States’ 4,500 local arts agencies collectively invest an estimated $2.8 billion in their local arts and culture ecosystems, including an estimated $600 million in direct investment in artists and arts and culture organizations through grants, contracts, and loans. This makes LAAs, collectively, the largest distributor of publicly-derived funds to arts and culture in the United States. It is therefore crucial that LAAs employ a strong lens of equity to consider the full scope of their investments—including both direct financial investments like grants, and indirect financial investments like staff salaries and rent.