An in-depth article by Jeanne Claire van Ryzin of the Austin American-Statesman published July 23, 2011 gives an eye opening picture of a mid-sized vibrant American city and its support of the arts.
I believe those interviewed and the information supplied in the article show a city that has not yet developed a culture of giving. As much of the wealth in Austin is relatively new, and given the real income levels sloping off, the city is not yet at the ongoing support levels of say, a Pittsburgh or Houston.
Read on.
Austin's fine arts scene has rocked and rolled this year, but not in expected ways.
The general director of the Austin Lyric Opera departed in May, leaving nearly $2 million of debt.
The Long Center for the Performing Arts went the entire season without a permanent director before announcing a hire this month.
Directors at the Blanton Museum of Art and the Austin Museum of Art left their posts. And AMOA abandoned plans for a downtown building and then announced it was discussing a possible merger with Arthouse, the Congress Avenue contemporary arts center.
Board and staff leaders at Arthouse faced national art world scrutiny after renting out an artist's installation during the South By Southwest Music Festival to a corporate entity without seeking the artist's permission.
The reason for all the tumult?
Largely, it's growing pains. But it's also the result of the general economic downturn and the city's philanthropic profile, which favors one-time giving rather than regular support, city arts leaders said in numerous interviews with the American-Statesman.
The numbers reveal the story.
Since 2000, the annual price tag on the arts has mushroomed, challenging arts leaders to find more money each year to keep the cultural offerings in step with Austin's growing population.
Operational budgets for 11 major Austin arts organizations, when totaled, jumped 63 percent in the past 10 years, according to figures obtained by the American-Statesman. And in some organizations' cases, growth has more than tripled in terms of budget size and blossomed by any artistic measure.
Choral group Conspirare, for example, went from having a part-time artistic director and an annual budget of $372,000 to being a five-time Grammy-nominated choir with numerous CD releases, national touring and a budget of nearly $1.26 million.
In the same period, though the city's population has grown 20 percent, the median household income has not increased, limiting families' disposable income for the arts.
A City of Austin demographic profile shows that while Austin's population jumped from 656,562 to 790,390 between 2000 and 2009, median household income dropped from $54,450 to $50,132, or 8 percent, when adjusted for inflation.
Austin donors did step up to pay for several major new arts facilities in the past decade, including the $77 million Long Center, the $10.3 million Butler Dance Education Center for Ballet Austin and the $6.6 million newly renovated Arthouse on Congress Avenue.
But two of the city's biggest cultural building projects — the $83.5 million Blanton Museum of Art and $14.5 million in renovations to the Bass Concert Hall — were paid for largely by non-Austin donors who rallied behind the University of Texas venues. For the Blanton, Austinites anted up $16 million, or 19 percent, of the overall capital campaign, and less than 2 percent of the money for the Bass Concert Hall came from Austin donors.
At the opera, leaders say the economic downturn caught them off-guard. Publicly available tax records show that the organization had a $644,000 deficit on its 2008-09 budget of $4.5 million.
Jo Anne Christian, chairwoman of the opera board , said that in April 2008, a parking fiasco at the newly opened Long Center resulted in hundreds of opera-goers being caught in a major traffic snarl — and shut out of the performance — as attendees of a music festival on Auditorium Shores clogged streets and occupied most of the parking spots in the center's garage. The debacle cost the opera $200,000 in refunded tickets and other lost income, Christian said.
"That put us behind the eight ball before the downturn" in the fall of 2008, Christian said. The organization has had to borrow on a line of credit to fund the loss from that year.
Concurrently, a decline in ticket sales and a drop in annual giving left the organization facing more debt at the end of this fiscal year.
Christian said that accelerated fundraising on the board has recently netted $1 million to make up for that debt as the organization heads into a new season. But to economize, the opera has scaled back performances from four to three for each of its productions and has not ruled out selling its headquarters on Barton Springs Road, a facility it built in 2000 for $4.5 million. It is also considering a spin-off of its Austin Community Music School into an independent entity.
As with the opera, sustained annual support remains a big concern for all arts groups.
Cookie Ruiz, executive director of Ballet Austin, noted that it's still a challenge to persuade one-time donors who buy bricks with their names on them in a new building to be regular givers.
"Our job is still to convert those donors and help them see that if they've invested in our building in 2007, why not now invest regularly in our artistic mission?" Ruiz said.
Elisabeth Challener, managing director of Zach Theatre, echoed the same concerns, adding that while Austin loves a glittering artsy party, the trick is to turn that into regular support.
"What I would wish going forward is that (Austin donors) would have more of a focus on investing in an annual gift," Challener said.
Austin's youthful profile , with a median age of 31 and a n economy still dominated by state government and education, translates into an average donor more likely to give smaller amounts to one-time fundraising efforts, noted leaders such as Ruiz and Challener.
Questions of artistic and civic credibility have dogged some groups as they have amped up artistic efforts.
The Austin Museum of Art spent more than $16 million of donor-contributed money in three separate attempts to build downtown before scrapping its plans.
More recently, Arthouse, though it gained considerable buzz for its renovated Congress Avenue venue, drew sharp scrutiny when it was revealed that leaders allowed Warner Music Group to modify British artist Graham Hudson's installation "Rehearsal at the Astoria" for a promotional event during SXSW.
Arthouse officials did not seek Hudson's permission, raising the possibility that the organization violated the Visual Artists Rights Act of 1990, which grants artists the right to prevent alteration of their work. Several prominent donors and artists subsequently left the Arthouse board.
In many ways, though, the story of the Austin arts scene over the past decade mirrors the national and international landscape.
The arts went on a building spree around the globe with bigger, splashier — and therefore more expensive to maintain — facilities sprouting in seemingly every major, and even minor, city.
But since the economic downturn, institutions everywhere have felt the cash crunch. And that pressure has sometimes produced leadership turnover. In Dallas, the new AT&T Performing Arts Center ended its first season with a $3 million deficit and $40 million short in its $354 million capital campaign. One chief executive stayed just 16 months on the job, leaving only a year after the complex opened.
Both Ballet Austin and Zach Theatre report solid economics with no debts. Ruiz said the ballet's board began planning for an economic downtown before the 2008 stock market crash and made cuts, while adding a $100,000 contingency surplus into the budget. And the company clearly has something Austin wants to buy: The ballet saw it highest-grossing season , with 42,257 paid attendees and nearly $2 million in ticket sales, this past year.
The board at Zach, too, planned for a budget surplus to buffer against uncertain fundraising during the economic downturn.
"Our board will not approve of an annual budget with any deficit," Challener said.
And despite the challenging economy, Zach is on track to complete its Topfer Theatre in the fall of 2012. Challener said that $18 million has been raised for the $22 million facility. (Nearly $11 million is from voter-approved municipal bond money.)
While the Zach construction continues a decade-long arts building boom in Austin, some arts leaders say that it's time to shift away from thinking about bricks-and-mortar ambitions and start focusing on organizational stability.
Though perhaps no other arts organization has suffered quite the ups and down that the Austin Museum of Art has, the sale late last year of its downtown lot adjacent to Republic Square Park to Travis County for $21.75 million has left it arguably the most cash-rich arts group in town.
Still, building a new home downtown isn't in its future. And that's partly because of its merger talks with Arthouse.
"The merger is really about securing ongoing operational strength rather than about taking on the pressure of constructing a new facility," said Lynn Sherman, the president of AMOA's board. "I think what we're seeing now — or should be seeing — is a focus on the ongoing operational stability of our arts institutions."
Buckling down and shoring up appears to be the modus operandi for many arts organizations this year. But a stable — and blossoming — future for the Austin arts scene also depends on leadership and good stewardship, as shown by the Zach and Ballet Austin boards.
"It's going to take really strong and dynamic board leadership to keep Austin arts organizations growing," Challener said.
Operating budgets of top arts organizations
In the past decade, many of Austin's larger arts groups significantly expanded, as evidenced by their annual budgets.
YEAR 2000 2010
Arthouse $490,000 $1.1 million
Austin Lyric Opera $3.5 million $4 million
Austin Museum of Art $3.4 million $3.26 million
Austin Symphony Orchestra $3.9 million $4.3 million
Ballet Austin $3.4 million $5.8 million
Blanton Museum of Art $2.6 million $6.1 million
Conspirare $372,000 $1.26 million
Long Center $0 $6 million*
Paramount/State $4.5 million $5.2 million
UT Texas Performing Arts $10.1 million $10.4 million
Zach Theatre $2.2 million $3.5 million
Total $31.06 million $50.92 million
*The Long Center for the Performing Arts opened in 2008.
Source: Staff research
Major arts building projects
In the past decade, Austin donors anted up for several major arts capital campaigns.
Arthouse: $6.6 million
Ballet Austin's Butler Dance Education Center: $10.3 million
Bass Concert Hall: $14.5 million*
Blanton Museum of Art: $83.5 million**
Long Center for the Performing Arts: $77 million
Topfer Theatre, Zach Theatre: $22 million (under construction; $18 million raised to date)
*Less than 2 percent, or approximately $29,000, came from Austin donors.
**Austinites donated $16 million, or 19 percent, for the new Blanton.
Matt
Sunday, July 24, 2011
Sunday, July 17, 2011
Legacy Choir - Texas
I wanted to share the post written by friend and fellow Kingwood High School Choir member Lori Hudgins Clark. It speaks of the Legacy Choir from Wichita Falls, Texas - an alumni choir.
She writes beautifully about the choral experience and the legacy of leadership and shared experience.
Give it a read.
Matt
She writes beautifully about the choral experience and the legacy of leadership and shared experience.
Give it a read.
Matt
Friday, July 8, 2011
Major Arts Funding Victories in Four States
According to ARTSblog of the Americans for the Arts, Ohio, Pennsylvania, New Jersey, and South Carolina (as previously posted here) realized financial and political successes in the funding for the arts.
The blog post stated:
Ohio Citizens for the Arts is reporting that the state arts council will enjoy a 30.5% increase in funding for the 2012-13 biennium – 62.1 percent more than Governor John Kasich had proposed. The current allocation for FYs 2010-11 is $13.2 million, with the governor proposing only $10.6 million for the upcoming biennium. However, legislatures decided to increase that number to $17.2 million, and the governor agreed!
In Pennsylvania, the House of Representatives had proposed a 70% reduction to the $9 million budget of the Pennsylvania Council on the Arts- a stark contrast to Governor Tom Corbett’s request for essentially flat funding. The Senate did not concur, and reinstated the funding: $8.2 million for arts grants, and $866,000 for arts agency administration. The House acquiesced, and the amended budget was sent to the governor for approval.
Finally, the New Jersey Legislature was pushing for a 27% cut to the $16 million budget of the state arts agency, but Governor Chris Christie removed language in the final budget that would have enacted those cuts. And, as most are already aware, South Carolinians scored a major victory as the legislature voted to override Governor Nikki Haley’s line-item veto of arts funding, thus preserving the $1.9 million allocation to their arts commission.
With each of these victories, a powerful statement is being conveyed all across the nation: arts advocates are unwilling to tolerate partisan rhetoric that claims state arts agencies provide superfluous functions. And when they come together to voice this sentiment, legislators listen. These feats could not have been accomplished without strong advocacy organizations that cultivate strong advocates.
I would like to give a shout out to the leaders and members Ohio Citizens for the Arts, Citizens for the Arts in Pennsylvania, ArtPride New Jersey, and the South Carolina Arts Alliance for their tremendous work and commitment to protect arts funding. I strongly encourage readers in these states to connect with those organizations and assist them in the continued fight for consistent and adequate funding and to keep this wonderful momentum going!
The blog post stated:
Ohio Citizens for the Arts is reporting that the state arts council will enjoy a 30.5% increase in funding for the 2012-13 biennium – 62.1 percent more than Governor John Kasich had proposed. The current allocation for FYs 2010-11 is $13.2 million, with the governor proposing only $10.6 million for the upcoming biennium. However, legislatures decided to increase that number to $17.2 million, and the governor agreed!
In Pennsylvania, the House of Representatives had proposed a 70% reduction to the $9 million budget of the Pennsylvania Council on the Arts- a stark contrast to Governor Tom Corbett’s request for essentially flat funding. The Senate did not concur, and reinstated the funding: $8.2 million for arts grants, and $866,000 for arts agency administration. The House acquiesced, and the amended budget was sent to the governor for approval.
Finally, the New Jersey Legislature was pushing for a 27% cut to the $16 million budget of the state arts agency, but Governor Chris Christie removed language in the final budget that would have enacted those cuts. And, as most are already aware, South Carolinians scored a major victory as the legislature voted to override Governor Nikki Haley’s line-item veto of arts funding, thus preserving the $1.9 million allocation to their arts commission.
With each of these victories, a powerful statement is being conveyed all across the nation: arts advocates are unwilling to tolerate partisan rhetoric that claims state arts agencies provide superfluous functions. And when they come together to voice this sentiment, legislators listen. These feats could not have been accomplished without strong advocacy organizations that cultivate strong advocates.
I would like to give a shout out to the leaders and members Ohio Citizens for the Arts, Citizens for the Arts in Pennsylvania, ArtPride New Jersey, and the South Carolina Arts Alliance for their tremendous work and commitment to protect arts funding. I strongly encourage readers in these states to connect with those organizations and assist them in the continued fight for consistent and adequate funding and to keep this wonderful momentum going!
Friday, July 1, 2011
PROFILE: Bach Society - Christ the King Lutheran Church - Houston
The sixteen member choir of the Bach Society celebrates its 30th Anniversary with the introduction of the 2011-2012 season.
The performance schedule includes the presentation of five Bach Vespers (evening prayer service). The choral vespers will include complete works of Bach cantatas and other choral works. The masterpieces are presented in a context similar to that of their premieres. There are also a series of organ vespers with guest organists from around the world. The previous season saw organists Wolfgang Rubsam, Pavel Kohout, and Aaron David Miller perform on the Bach Organ at Christ the King Lutheran Church.
With that in mind, of particular note for this ensemble is the dedication of Christ the King Lutheran Church as it highlights music of the Baroque period and its provision of resources to the Bach Society. In 2010, the Bach Society highlighted the newly acquired harpsichord. Fashioned after the Michael Mietke design, this German instrument premiered with the Brandenburg Concerto no. 5 in D Major, BWV 1050 by J.S. Bach and the Concerto in G Major for harpsichord by Carl Philipp Emanuel Bach. Also important to note is the Bach Organ at Christ the King Lutheran Church—designed specifically to play the music of Johann Sebastian Bach. It was designed and built by Fritz Noack and the Noack Organ Company (see image).
The Bach Society certainly fulfills the interest of those in Houston who have a specific interest in the works of Bach. Congratulations on their 30th anniversary.
In the spirit of full disclosure, I was, for a brief period in the early 1990’s, a member of this ensemble prior to departing Texas.
Matt
bachsocietyhouston.org
Thursday, June 30, 2011
WIN! South Carolina Legislature Overrides Gov's Arts Funding Veto
Below is the Americans for the Arts Blog posted by Tim Mikulski.
Since South Carolina Gov. Nikki Haley threatened funding for the state arts commission early in the budget process this year, it wasn’t a surprise when she used her proverbial red veto pen to cut funding yesterday.
In anticipation, the South Carolina Arts Alliance had already been lobbying the legislature to overturn Gov. Haley’s veto as early as last week, and it all paid off when both the House and Senate overturned veto #15 today.
The legislature displayed its overwhelming support for the South Carolina Arts Commission by overturning the veto by a large margin in both houses.
The House passed it by a 105-8 vote.
The Senate by a 32-6 vote.
Congratulations to arts advocates in South Carolina and a big “thank you” to the House and Senate for recognizing the power of the arts.
For Americans for the Arts’ official statement on the override, visit our website.
www.artsusa.org
Since South Carolina Gov. Nikki Haley threatened funding for the state arts commission early in the budget process this year, it wasn’t a surprise when she used her proverbial red veto pen to cut funding yesterday.
In anticipation, the South Carolina Arts Alliance had already been lobbying the legislature to overturn Gov. Haley’s veto as early as last week, and it all paid off when both the House and Senate overturned veto #15 today.
The legislature displayed its overwhelming support for the South Carolina Arts Commission by overturning the veto by a large margin in both houses.
The House passed it by a 105-8 vote.
The Senate by a 32-6 vote.
Congratulations to arts advocates in South Carolina and a big “thank you” to the House and Senate for recognizing the power of the arts.
For Americans for the Arts’ official statement on the override, visit our website.
www.artsusa.org
NOTE: South Carolina Governor Vetoes Arts Funding
Below is the Americans for the Arts Blog posted by Tim Mikulski
In response to South Carolina Governor Nikki Haley’s decision to veto funding for the South Carolina Arts Commission, Robert L. Lynch, president and CEO of Americans for the Arts, issued the following statement:
“In vetoing funding for the South Carolina Arts Commission (SCAC), Gov. Nikki Haley offers another unfortunate example of newly-elected gubernatorial leadership being out of touch with the wishes of voters for ideological reasons."
Betty Plumb, executive director of the South Carolina Arts Alliance states, ‘South Carolinians have spoken and the General Assembly has listened. The budget is balanced, and it includes the arts. The state’s small investment in the arts yields significant, statewide returns for education, quality of life, and our economy. The support and services the arts commission provides make a positive difference in our communities and schools. We don’t need to sacrifice this valuable public asset when there is no practical necessity to do so.’
South Carolina residents know that eliminating funding for the SCAC harms both quality of life and economic development in the state. They know that South Carolina’s creative industries contribute more than $9.2 billion to the state’s economy annually. They know that South Carolina’s arts sector supports more than 78,000 jobs.
They know the arts are big business in South Carolina, and they believe it is imperative to invest state dollars in this critical sector of the economy. South Carolina’s rural areas—where the impact of the flagging economy is felt most acutely—will feel the most dramatic effects of lost arts funding.
The SCAC’s long-term investment of staff assistance and modest grant funds to build support for an arts delivery and education system throughout the state is the reason arts programs in many rural communities and schools in South Carolina even exist.
We urge the residents of South Carolina to contact their state legislators through the South Carolina Arts Alliance (SCAA) website and let them know you support state funding for the arts and arts education. We encourage South Carolina arts organizations to let their legislators know how they’ve successfully leveraged state support to serve their communities—both urban and rural.
And, most importantly, we implore members of the South Carolina legislature to hear the wishes of their constituents and overturn Gov. Haley’s veto.
This is a watershed moment. If the SCAC does not receive funding, the state of the arts in South Carolina will be severely hurt and the impact felt for generations.”
http://www.artsusa.org/
http://www.scartsalliance.net/
Monday, June 27, 2011
PROFILE: First United Methodist Church Lubbock Vesper Concert Series
More than thirty years ago, the now 5,000 member 119-year-old First United Methodist Church of Lubbock created the Vesper Concert Series—a series that annually includes world class performing arts ensembles presented free to the public.
The reputation of the Vesper Concert Series has reached global proportions. The West Texas hospitality offered to visiting ensembles, coupled with the historic quality of the series, is apparent as inquiries to appear in concert in Lubbock are ever increasing. In just the last three years, ensemble booking management firms from England, Austria, the Ukraine, and New Zealand have contacted the Vesper Concert Series to inquire about appearing in concert.
Past ensembles appearing on the Vesper Concert Series include:
• The Choir of Clare College, Cambridge
• Chanticleer
• Kiev Symphony Orchestra and Chorus
• The Kings Singers
• St. Thomas Choir, NYC
• New Zealand National Youth Choir
It was recently announced that the 2011-2012 Vesper Concert Series will include The Tallis Scholars, widely recognized as the finest Renaissance vocal ensemble in the world, and The Vienna Boys Choir.
The 1,000 seat Gothic sanctuary at First United Methodist Church of Lubbock, sometimes referred to as the “Cathedral of the West” with its superior acoustics, lends itself well to the classical and sacred genres of the ensembles appearing.
A concert series of this caliber offered to the community at no cost is indeed unique. The 2010-2011 season of six performances distributed $87,000 in free seating to the community. Using today’s dollars, the Vesper Concert Series will have given away more than $2.7 million dollars in seating since its inception. This means that thousands from across the region have been exposed to world-class music at no cost to them.
Christopher Betts, M.A., F.R.C.O., Director of Music at First United Methodist Church of Lubbock, is responsible for overseeing all aspects of the Vesper Concert Series.
http://www.fumc.com/music/
http://www.fumc.com/music/concerts/_concerts.htm
Sunday, June 26, 2011
PROFILE: Conspirare
I have a confession to make.
My favorite art form is actually architecture. I think it’s the combination of structure and order complemented by the art of aesthetics that gets me going. Second in the order of artistic likes is choral music. Here again, there is some order and direction coupled with the artistic endeavor.
Having had a fair amount of experience singing in some fine choirs in my day, I wanted to share information about some acclaimed ensembles. Since Texas is my home, I will start with the Lone Star state.
Conspirare
Austin based Conspirare has a list of honors:
Five Grammy Award® nominations
Best Classical Crossover Album
Best Classical Album
Best Choral Performance (twice nominated)
Best Engineered Album, Classical
The Edison Award
Numerous Austin Critics’ Table Awards
The ensemble was founded in 1991 and has gained local and international attention for innovative programming and, of course, artistic excellence. Craig Hella Johnson is the founding artistic director.
Conspirare’s most recent Grammy Award® nomination was for the CD “Company of Voices: Conspirare in Concert.” The concert was produced by Austin’s KLRU and was broadcast on more than 130 PBS affiliate television stations.
In a June 2011 Austin American-Statesman critical review of Conspirare’s performance of “Missa Latina” composed by Roberto Sierra, Luke Quinton said, “It was beautiful from its first moments.”
Although many very fine performing arts organizations never see this kind of wide-spread critical acclaim, it’s great to see a Texas based performing arts organization receiving this positive attention.
Matt
www.conspirare.org
http://www.austin360.com/blogs/content/shared-gen/blogs/austin/seeingthings/entries/2011/06/13/review_conspirares_missa_latin.html?cxntfid=blogs_austin_arts_seeing_things
My favorite art form is actually architecture. I think it’s the combination of structure and order complemented by the art of aesthetics that gets me going. Second in the order of artistic likes is choral music. Here again, there is some order and direction coupled with the artistic endeavor.
Having had a fair amount of experience singing in some fine choirs in my day, I wanted to share information about some acclaimed ensembles. Since Texas is my home, I will start with the Lone Star state.
Conspirare
Austin based Conspirare has a list of honors:
Five Grammy Award® nominations
Best Classical Crossover Album
Best Classical Album
Best Choral Performance (twice nominated)
Best Engineered Album, Classical
The Edison Award
Numerous Austin Critics’ Table Awards
The ensemble was founded in 1991 and has gained local and international attention for innovative programming and, of course, artistic excellence. Craig Hella Johnson is the founding artistic director.
Conspirare’s most recent Grammy Award® nomination was for the CD “Company of Voices: Conspirare in Concert.” The concert was produced by Austin’s KLRU and was broadcast on more than 130 PBS affiliate television stations.
In a June 2011 Austin American-Statesman critical review of Conspirare’s performance of “Missa Latina” composed by Roberto Sierra, Luke Quinton said, “It was beautiful from its first moments.”
Although many very fine performing arts organizations never see this kind of wide-spread critical acclaim, it’s great to see a Texas based performing arts organization receiving this positive attention.
Matt
www.conspirare.org
http://www.austin360.com/blogs/content/shared-gen/blogs/austin/seeingthings/entries/2011/06/13/review_conspirares_missa_latin.html?cxntfid=blogs_austin_arts_seeing_things
Thursday, June 23, 2011
Tools for Advocacy
I have written a bit here about the fight for tax-based funding for the arts. Although I have made special note of the goings on in Kansas, South Carolina, and Texas, the truth is that these kinds of scenarios are being played out across the country. Small cash strapped towns and villages are in the same boat as places like Texas (my home) where the legislature faces a budget deficit of more than $25 billion. Tough decisions are being made.
We elect people to lead, but remember, a person is not a leader without followers. Force people to lead.
We need to be armed individually and collectively with information about the impact of the arts on our communities. Yes, there is the immeasurable quality of life that we know is enhanced by the arts, but we also need to make sure that our leaders understand the return on the investment of the taxpayer dollar, the numbers employed in the arts, and the direct and indirect economic benefit.
As well, school systems of all sizes are constantly confronted with finite financial resources and search for ways to save money. Well meaning administrators, under pressure from a variety of forces, see sometimes expensive arts programs as an easy target for cutting.
Here are three helpful resources that will assist us in areas of advocating for school choirs and arts in society:
Americans for the Arts has comprehensive and well thought out processes to be self-educated and has the tools available to make advocacy real and effective.
Chorus America has helpful information on their website concerning advocating for choirs in school settings. The guide is free but registration is required. If you are a member (like me) registration is not required.
The Dana Foundation has holds a wealth of information about the brain and research about the brain. The foundation’s Dana Arts and Cognition Consortium releases studies concerning research on how the arts influence learning.
Become familiar with these tools – there is no need to reinvent the wheel – others have brought us the technical tools. We must now utilize those tools in a proactive state to build relationships with administrators and policy-makers on every level.
Matt
http://www.artsusa.org/get_involved/advocate.asp
http://www.chorusamerica.org.choiradvocacyguide/free/
http://www.dana.org/arteducation.aspx
We elect people to lead, but remember, a person is not a leader without followers. Force people to lead.
We need to be armed individually and collectively with information about the impact of the arts on our communities. Yes, there is the immeasurable quality of life that we know is enhanced by the arts, but we also need to make sure that our leaders understand the return on the investment of the taxpayer dollar, the numbers employed in the arts, and the direct and indirect economic benefit.
As well, school systems of all sizes are constantly confronted with finite financial resources and search for ways to save money. Well meaning administrators, under pressure from a variety of forces, see sometimes expensive arts programs as an easy target for cutting.
Here are three helpful resources that will assist us in areas of advocating for school choirs and arts in society:
Americans for the Arts has comprehensive and well thought out processes to be self-educated and has the tools available to make advocacy real and effective.
Chorus America has helpful information on their website concerning advocating for choirs in school settings. The guide is free but registration is required. If you are a member (like me) registration is not required.
The Dana Foundation has holds a wealth of information about the brain and research about the brain. The foundation’s Dana Arts and Cognition Consortium releases studies concerning research on how the arts influence learning.
Become familiar with these tools – there is no need to reinvent the wheel – others have brought us the technical tools. We must now utilize those tools in a proactive state to build relationships with administrators and policy-makers on every level.
Matt
http://www.artsusa.org/get_involved/advocate.asp
http://www.chorusamerica.org.choiradvocacyguide/free/
http://www.dana.org/arteducation.aspx
Saturday, June 18, 2011
Add South Carolina to the Endangered Arts Funded States
Echoing the states of Kansas and Texas, South Carolina governor, Nikki Haley, is threatening to end the funding for the state arts commission.
This time, the governor is threatening with a veto pen. The state legislature did provide funding in its budget to fund the arts commission but Haley has made her position clear from the get-go that she intends on ending taxpayer support of the arts on a state level.
The total sum of the line item in the budget is $2.05 million dollars.
This amount is small in the grand scheme but does allow for matching grants from the National Endowment for the Arts.
What it does NOT do is balance the South Carolina budget.
According to the Moore School of Business at Emory University of South Carolina, the arts employ 78,000 people and bring $9.2 billion to the state economy with an additional $500 million in tax revenue. Surely, there are not large numbers of examples of investments made on behalf of taxpayers who see that kind of return.
As is the case in Kansas, who ended funding of the state arts commission, the most likely significant impact will be felt in the rural areas of the state – just the areas that need the arts the most.
Too bad.
Perhaps the state legislature will override the expected veto by the governor.
Matt
http://www.heraldonline.com/2011/06/15/3147543/dont-cut-arts-funding.html
http://www.governor.sc.gov/Pages/index.aspx
http://www.southcarolinaarts.com/
This time, the governor is threatening with a veto pen. The state legislature did provide funding in its budget to fund the arts commission but Haley has made her position clear from the get-go that she intends on ending taxpayer support of the arts on a state level.
The total sum of the line item in the budget is $2.05 million dollars.
This amount is small in the grand scheme but does allow for matching grants from the National Endowment for the Arts.
What it does NOT do is balance the South Carolina budget.
According to the Moore School of Business at Emory University of South Carolina, the arts employ 78,000 people and bring $9.2 billion to the state economy with an additional $500 million in tax revenue. Surely, there are not large numbers of examples of investments made on behalf of taxpayers who see that kind of return.
As is the case in Kansas, who ended funding of the state arts commission, the most likely significant impact will be felt in the rural areas of the state – just the areas that need the arts the most.
Too bad.
Perhaps the state legislature will override the expected veto by the governor.
Matt
http://www.heraldonline.com/2011/06/15/3147543/dont-cut-arts-funding.html
http://www.governor.sc.gov/Pages/index.aspx
http://www.southcarolinaarts.com/
Friday, June 17, 2011
Arts in Kansas and Texas Take a Beating
Originally posted 6.8.2011
In my last blog, I chatted about choral arts in America in a very broad sense. In later blogs I will write more about the findings of the National Endowment for the Arts and the Chorus America study results.
Those results can, and hopefully are, being used to advocate the position that all performing arts has a rightful place in our society and that public funds (tax dollars) should be used to underpin the industry. There is solid evidence that the return on the investment trumps the rhetoric that the dollars spent on the arts is to make us all feel good. That too does not seem to preclude us, as a society, from utilizing tax based sources to at least partially fund activities that reach out to the masses. Of particular import is that segment of our society that is not exposed to the immeasurable value of performing arts.
My life is better because of the arts. The performing arts helped lift me from certain generational poverty or at least a marginalized life. Perhaps I am more naïve than I thought or perhaps it is because I was fortunate enough to be exposed to the arts very early or perhaps it is even because I was taught by my Mother that adage that we treat others how we want to be treated. I have always thought that one of the core components of American society was that we are to take care of those with less than ourselves. Care beyond food, shelter, and education—care for the spirit.
Just because we cannot measure everything in terms of return on investment does not devalue its worth.
Being careful to not overstate the situation, the American performing arts industry sits on a precipice. Recent history has revealed disturbing results.
Kansas and Texas
Kansas is now the only American state without a state arts agency.
The elimination of the Kansas Arts Commission through a line-item veto by Governor Sam Brownback now removes available matching funds from the National Endowment for the Arts and the Mid-America Arts Alliance. According to David Hudnall of The Pitch, Kansas has a $13.8 billion state budget. Of that total, .005 percent was earmarked for the Kansas Arts Commission.
It is difficult in this instance to understand the motivation for this extraordinary cut. Jobs will be lost. Economic returns from arts organization spending will evaporate. Rural communities will be especially hard hit. Unemployment filings will increase. The reputation of Kansas will be sullied. Could it be that Hudnall’s observations about Brownback’s political aspirations (Brownback is a Republican) have him playing to the most base of his political party? His motivation may not be what is best for all Kansans but what is best for Sam Brownback’s purported bid to become president.
My home-state of Texas is not fairing much better.
Governor Rick Perry (a Republican and possible presidential candidate) vowed, in his State of the State address, to suspend funding for the Texas Commission on the Arts for two years—a certain long term death knell.
He stated his goal despite the facts supplied by the Texas Cultural Trust:
• $4.5 billion generated annually in taxable sales by Texas arts and cultural industries.
• 80 percent of Texas economic development professionals surveyed said the arts are important to companies looking to expand or relocate in Texas.
• 700,000 employees in Texas work in creative jobs with an average wage of $70,000.
• 1 in 15 workers in Texas are employed in creative sector jobs.
In a sad commentary on the political climate in Texas and in an effort at preventing agency elimination, the Texas Commission on the Arts found itself advocating for a budget reduction of its own budget of fifty-three percent—more than the legislative recommended fifty percent.
In an effort to close the $25 billion (give or take a few billion dollars) budget gap and pass a state budget, the Texas legislature remains in special session. Governor Perry has yet to sign the nearly $84 billion proposed state budget.
He has line-item veto so stay tuned.
http://www.pitch.com/2011-06-09/music/kansas-arts-commission-sam-brownback/
http://houston.culturemap.com/newsdetail/05-05-11-sentate-hope-texas-arts-commission-advocates-a-53-percent-cut-in-its-own-budget-to-survive/
http://www.governor.state.tx.us/
www.txcutluretrust.org
In my last blog, I chatted about choral arts in America in a very broad sense. In later blogs I will write more about the findings of the National Endowment for the Arts and the Chorus America study results.
Those results can, and hopefully are, being used to advocate the position that all performing arts has a rightful place in our society and that public funds (tax dollars) should be used to underpin the industry. There is solid evidence that the return on the investment trumps the rhetoric that the dollars spent on the arts is to make us all feel good. That too does not seem to preclude us, as a society, from utilizing tax based sources to at least partially fund activities that reach out to the masses. Of particular import is that segment of our society that is not exposed to the immeasurable value of performing arts.
My life is better because of the arts. The performing arts helped lift me from certain generational poverty or at least a marginalized life. Perhaps I am more naïve than I thought or perhaps it is because I was fortunate enough to be exposed to the arts very early or perhaps it is even because I was taught by my Mother that adage that we treat others how we want to be treated. I have always thought that one of the core components of American society was that we are to take care of those with less than ourselves. Care beyond food, shelter, and education—care for the spirit.
Just because we cannot measure everything in terms of return on investment does not devalue its worth.
Being careful to not overstate the situation, the American performing arts industry sits on a precipice. Recent history has revealed disturbing results.
Kansas and Texas
Kansas is now the only American state without a state arts agency.
The elimination of the Kansas Arts Commission through a line-item veto by Governor Sam Brownback now removes available matching funds from the National Endowment for the Arts and the Mid-America Arts Alliance. According to David Hudnall of The Pitch, Kansas has a $13.8 billion state budget. Of that total, .005 percent was earmarked for the Kansas Arts Commission.
It is difficult in this instance to understand the motivation for this extraordinary cut. Jobs will be lost. Economic returns from arts organization spending will evaporate. Rural communities will be especially hard hit. Unemployment filings will increase. The reputation of Kansas will be sullied. Could it be that Hudnall’s observations about Brownback’s political aspirations (Brownback is a Republican) have him playing to the most base of his political party? His motivation may not be what is best for all Kansans but what is best for Sam Brownback’s purported bid to become president.
My home-state of Texas is not fairing much better.
Governor Rick Perry (a Republican and possible presidential candidate) vowed, in his State of the State address, to suspend funding for the Texas Commission on the Arts for two years—a certain long term death knell.
He stated his goal despite the facts supplied by the Texas Cultural Trust:
• $4.5 billion generated annually in taxable sales by Texas arts and cultural industries.
• 80 percent of Texas economic development professionals surveyed said the arts are important to companies looking to expand or relocate in Texas.
• 700,000 employees in Texas work in creative jobs with an average wage of $70,000.
• 1 in 15 workers in Texas are employed in creative sector jobs.
In a sad commentary on the political climate in Texas and in an effort at preventing agency elimination, the Texas Commission on the Arts found itself advocating for a budget reduction of its own budget of fifty-three percent—more than the legislative recommended fifty percent.
In an effort to close the $25 billion (give or take a few billion dollars) budget gap and pass a state budget, the Texas legislature remains in special session. Governor Perry has yet to sign the nearly $84 billion proposed state budget.
He has line-item veto so stay tuned.
http://www.pitch.com/2011-06-09/music/kansas-arts-commission-sam-brownback/
http://houston.culturemap.com/newsdetail/05-05-11-sentate-hope-texas-arts-commission-advocates-a-53-percent-cut-in-its-own-budget-to-survive/
http://www.governor.state.tx.us/
www.txcutluretrust.org
Choral Arts Are Alive and Well
Originally posted 6.4.2011
There is much discussion about the state of American performing arts.
The 270,000 American choral ensembles are well represented in that discussion.
In December of 2010, the National Endowment for the Arts (NEA) released the results of the Survey of Public Participation in the Arts (SPPA). Rocco Landesman, NEA Chairman, hosted a roundtable discussion to review the findings of the study. America’s choral arts were represented by the invited Ann Meier Baker, President and CEO of Chorus America; the nation’s premiere member organization for more than 650 vocal ensembles.
As well, Chorus America commissioned a study entitled “How Children, Adults, and Communities Benefit from Choruses.” The 2009 study was funded by the Morris and Gwendolyn Cafritz Foundation, the James Irvine Foundation, the McKnight Foundation, and the National Endowment for the Arts.
Along with a whole host of information, the study found that 32.5 million adults regularly sing in a choral ensemble. Adding children to that mix brings the total to 42.6 million American adults and children taking part in a choir. Attributes of those represented by the numbers reflect increased civic involvement, discipline, and teamwork.
Representing an additional 173 choruses is the Gay and Lesbian Association of Choruses (GALA). The mission of GALA Choruses is to support the gay, lesbian, bi-sexual and transgender (GLBT) community choruses as they change the world through song while Chorus America’s mission is to build a dynamic and inclusive choral community so that more people are transformed by the beauty and power of choral singing.
Both GALA Choruses and Chorus America provide a wealth of assistance that includes advocacy, administrative tool kits, programs, resources, master classes, and conferences.
So, if your child sings with the Appalachian Children’s Choir located in Charleston, West Virginia or you are a rabid fan of the full-time professional Grammy Award winning Chanticleer of San Francisco, know that many of the needs of the diverse choral community are being addressed.
Clearly and thankfully, American choral ensembles come from a broad spectrum of communities. Virtually every dell and cranny is supporting a mix of singers gathering for the love of expressing themselves through the choral arts.
Matt
http://www.nea.gov/research/index.html
http://www.chorusamerica.org/
http://www.galachoruses.org/
There is much discussion about the state of American performing arts.
The 270,000 American choral ensembles are well represented in that discussion.
In December of 2010, the National Endowment for the Arts (NEA) released the results of the Survey of Public Participation in the Arts (SPPA). Rocco Landesman, NEA Chairman, hosted a roundtable discussion to review the findings of the study. America’s choral arts were represented by the invited Ann Meier Baker, President and CEO of Chorus America; the nation’s premiere member organization for more than 650 vocal ensembles.
As well, Chorus America commissioned a study entitled “How Children, Adults, and Communities Benefit from Choruses.” The 2009 study was funded by the Morris and Gwendolyn Cafritz Foundation, the James Irvine Foundation, the McKnight Foundation, and the National Endowment for the Arts.
Along with a whole host of information, the study found that 32.5 million adults regularly sing in a choral ensemble. Adding children to that mix brings the total to 42.6 million American adults and children taking part in a choir. Attributes of those represented by the numbers reflect increased civic involvement, discipline, and teamwork.
Representing an additional 173 choruses is the Gay and Lesbian Association of Choruses (GALA). The mission of GALA Choruses is to support the gay, lesbian, bi-sexual and transgender (GLBT) community choruses as they change the world through song while Chorus America’s mission is to build a dynamic and inclusive choral community so that more people are transformed by the beauty and power of choral singing.
Both GALA Choruses and Chorus America provide a wealth of assistance that includes advocacy, administrative tool kits, programs, resources, master classes, and conferences.
So, if your child sings with the Appalachian Children’s Choir located in Charleston, West Virginia or you are a rabid fan of the full-time professional Grammy Award winning Chanticleer of San Francisco, know that many of the needs of the diverse choral community are being addressed.
Clearly and thankfully, American choral ensembles come from a broad spectrum of communities. Virtually every dell and cranny is supporting a mix of singers gathering for the love of expressing themselves through the choral arts.
Matt
http://www.nea.gov/research/index.html
http://www.chorusamerica.org/
http://www.galachoruses.org/
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