In December I wrote that one of the initial speakers at the Arts Presenters conference was going to talk about how the current financial crisis evolved. Arts Presenters posted Jeremy Nowak’s conference remarks today. It is a little long, but if you are seeking an understanding of the forces and situations that came into play, he does a thorough job explaining things.
His suggestions on how arts organizations should operate in the new economic climate appear at the end of the piece. He talks about collaboration, emphasizing the economic and status quo smashing value of creativity and cautious management, but ambitious planning.
His observations under the heading “Defining What Counts” resonated with me most. (emphasis mine)
“A crisis brings an opportunity to define what is most important – the core part of what you do and what counts the most. In this sense, a crisis can be a painfully clarifying opportunity. A crisis also creates a political screen to eliminate legacy programs and initiatives that are hard to remove for historical reasons but can be justified at a point of financial duress. A crisis is a time to preserve what is core; organize your constituents (including funders) and define what efficiencies can be instituted.”
My first thoughts connected back to a story he told early on. He talks about how his organization is rebuilding a community made famous in HBO’s The Wire.
“Two weeks ago, in a magically irrational economic act, we purchased a liquor store that was selling alcohol to young people and functioned as a gathering place for drug distribution. We overpaid because its demise was worth more to us than the market value (and the owners knew it). We then added to this irrational act by publicly burning the liquor license – which we could have sold on the market for $75,000. At least it got us a good article and picture in the Baltimore Sun.”
My first thought was that this act defined what was important. It exemplified the an argument for investing in arts and culture in times of crisis. Even though there may be a higher cost involved, you pay it because it changes the dynamics of the community and improves the environment both directly and indirectly.
My second thought focused more on the sentence in bold above. Although Nowak meant it to be an internal practice, crisis very frequently provides a political screen to eliminate funding for arts programs in communities and schools. What it is that matters is not easily defined. The result is that often the trash trimmed away having been determined not to matter can very well be another person’s treasure.
Both Andrew Taylor and Greg Sandow have entries along these lines. Sandow specifically cites the oft used argument that if a government entity supports the arts, then babies will have to go without food and medicine. This seems a bit of a false choice because there are plenty of other categories of things you can choose to cut as well that can result in more people being fed. How many more children would be alive if legislators didn’t have franking privileges? Not a question entirely lacking in relevance given the NEA’s budget is generally measured as about two postage stamps per person in the U.S.
I want to make it clear that I haven’t really been a big proponent of some sort of arts bailout. I am still not convinced the sector is best served by jumping on the bandwagon. That said, I am beginning to think that the arts and culture industry ends up being treated thus because they are not audacious enough. There is never any money in the budget for the arts but we can go deeper into debt to bailout the banks, automobile companies and wage wars.
I will acknowledge that perhaps the production methods and business models the arts employ might be as behind the times as those of the automobile industry and are need of revamp. I have admitted as much throughout this blog. It really requires some cojones to take bailout money from the government meant to provide relief to debtors and pay yourself huge amounts in bonuses. Yet despite all the displeasure the U.S. citizens. and their president feel for this activity, the administration is still working their butts off to convince Congress to find a way to give them another infusion.
I know that arts organizations get “bailed” out by state, city and county governments and concerned citizens on a regular basis and in many cases, the organization is back asking for more a couple years later. But I can’t think of any who have been accused of so blatantly misdirecting these funds the way the financial sector has, much less on the same scale. The peril is genuine.
I begin to think that maybe we should be standing up and asking for a bailout. While the effort should be entirely serious, the ultimate goal might not be to get the money as to become less timid about asking. If the banks aren’t cowed by the idea of people being dispossessed of their homes and belongings, maybe we shouldn’t be deflected in our efforts by protests that saying yes to us means people will die or live in agony. I think we are all comforted by how empathetic arts and culture people are but I wonder if the recognition of that is being employed to manipulate us.
