Mayoral Support of the Arts

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Last month, the U.S. Conference of Mayors passed four resolutions regarding the arts.

The resolutions, which may be found on pages 7-10 of the Acrobat document were (my emphasis)

NOW, THEREFORE, BE IT RESOLVED, that the United States Conference of Mayors supports the conclusions of the Arts and
Economic Prosperity III study and urges mayors across the
country to invest in nonprofit arts organizations through their local arts agencies as a catalyst to generate economic impact, stimulate business development, spur urban renewal, attract tourists and area residents to community activities, and to improve the overall quality of life in America’s cities.

NOW, THEREFORE, BE IT RESOLVED, that the United States Conference of Mayors urges mayors to consider these recommended arts policy strategies to help stimulate private giving to the arts and arts education in America.

NOW, THEREFORE, BE IT RESOLVED, that the United States Conference of Mayors urges mayors to build partnerships with their local arts agencies and other members of the arts and humanities community in their cities to proclaim, to participate in, and to celebrate the month of October as National Arts and Humanities Month.

NOW, THEREFORE, BE IT RESOLVED, that the United States Conference of Mayors reaffirms its support of the National Endowment for the Arts (and specifically the valuable Challenge America program), National Endowment for the Humanities, and the Office of Museum Services within the Institute of Museum and Library Services and calls upon Congress to restore full funding for these agencies in the FY’08 appropriations bills.

Now granted, these resolutions aren’t binding in the least. That doesn’t mean you can’t use it to your benefit though. Plug your mayor’s name (or city) into the search field in the upper right hand corner of the web site to determine if your mayor is a member of the conference. Then contact his/her honor and congratulate them for joining with their colleagues in ratifying these items and provide suggestions on how you can collaborate.

The better prepared you are with your proposal and the more unity you can show with other arts organizations, arts councils and even chambers of commerce, the more effective I imagine your efforts will be. It doesn’t matter if your mayor voted for the resolution or not, as noted in an earlier entry, if you give him/her an opportunity to look like a good person, there is a good chance of success. Of course, the better the local economy, the better your chances of getting direct financial support from your city.

Getting the mayor to take these resolutions to heart and advocate on behalf of the arts community to businesses and other governmental entities may end up being of greater value than what the municipal budget could provide.

The these four resolutions were submitted by the committee on tourism, arts, parks, entertainment and sports. Unfortunately, the Conference of Mayors website only lists the committee chair. It would be interesting to learn who else serves on the committee since the citizens those mayors serve would have a greater claim on those politicians to step up to their convictions.

If An Actor Forgets A Line And There Is No One to Hear The Silence….

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This being my 500th entry, I thought I would wax a little philosophical.

Back when I was actually taking philosophy in college, I was always intrigued by the basic idea of what it is that comprises identity. Generally, the concept is introduced with a question like-If your arm is chopped off and replaced with a prosthetic, are you still the same person you were before? Then what about a leg? The questioning goes on removing and adding body parts to start the conversation about how much has to be removed before you are no longer you. Accompanying the question is also the idea of whether the loss of certain senses changes you since you no longer experience the world in the same manner.

The final examine for the course challenged us to compare what different philosophers would say about the identity of crew members on the Star Trek television shows given that the process of “beaming down” demolecularized and then reconstituted them.

Sure it sounds strange, but the essential questions of identity come up quite often in conversation on many topics. Certainly, it emerges all the time in regard to art. One of the first questions most arts students are asked explicitly or implicitly is what is art? One of the initial separations people try to make is between art and craft and then pare their definitions down little by little hoping to find that one defining element wherein art resides.

Given that a pieces of clay shaped into water jugs by Incan potters 500 years ago are enshrined as art objects in museums and private collections, people are often uneasy making definite statements about the difference between art and craft and never get beyond that point.

If distilling the elements of art were so easy to do, someone would mix it with the ingredients of quality, bottle and sell it.

If things do get bogged down or boring during your debate about art, you can always introduce James Joyce’s idea that all the art we see these days, including Norman Rockwell’s paintings, is pornography.

The truth is, seeking the ingredients of art can be just as fun as boldly walking into a room and accusing Norman Rockwell of being an arch-pornographer.

Go into the rehearsals for a new play and try to figure out when it becomes art. Does it happen during rehearsals? Does it happen on opening night? Does it happen some 10 days into the run when everyone settles into their stride? Does it happen at different times for different actors? Has the set and lighting always been artistic from the start but the show doesn’t become art until the acting ensemble integrates itself with these elements?

Was art created the moment the platonic ideal of the show coalesced in the director’s head? Since performance is meant to be experienced by others, is it not validated as art until someone has witnessed it?

If the performance is awful, was art created? Given that the work of many visual artists wasn’t appreciated until after their deaths, art can obviously exist independently of perceived quality and value.

Similar criteria can be applied to paint brush strokes, musical notes and poetic phrases.

Engaging in this sort of speculation with a light heart can make an arts experience enjoyable and I daresay will sharpen one’s perceptions as one endeavors to spot the point at which the ingredients transmuted into art.

Now some may think that coming to these realizations is a great argument for the teaching of philosophy. I should note that I believe I got a C+ in the class and that was probably mercy on the part of the professor. At some point, the lessons started to sink in and make sense in the context of the world at large.

Hmm, I wonder if I can discern the point in my life when the knowledge finally turned in to comprehension….

Rising Need for Non-Profit Lobbying

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Last month Barry Hessenius did a rather lengthy entry on his blog regarding lobbying for non-profits. I haven’t seen any mention of it elsewhere and felt it important to call attention to some of what he mentions.

Hessenius recently completed his book, Hardball Lobbying for Non-profits, so the topic is fairly close to his heart and thoughts. His thesis essentially is that like it or not, lobbying and the expenditure of money that accompanies it is absolutely necessary to maintain stable governmental funding and legislative support. There are plenty of other causes as worthy as yours out there so success on an emotional or logical appeal is going to be less likely to succeed. And if the other worthies bring money into the picture, the job becomes that much more difficult.

“Rather than acting like a $160+ billion a year industry, the national nonprofit arts field has ceded the power of its economic clout by its failure to engage in serious advocacy and lobbying efforts in comparison to other special interest groups.”

Contrary to what you may believe given the amounts involved in the recent campaign financing and lobbying scandals, he states that it doesn’t take that much money to effectively lobby legislators. However, it would behoove the industry to have a well-organized and funded lobby apparatus in place at all times keeping its interests on law makers’ radar at all times.

The worst thing that can happen, Hessenius says, is to be in the position of trying to marshal your forces in times of funding and legislative crisis. Many performing arts people are familiar with the maxim, “cheap, quick, quality, pick two” so the benefit of financing a consistent effort can be apparent.

Personally, I’d as concerned about getting my money worth from the lobbyist as I am from the legislator. I suspect that there will be a steep learning curve from mistakes made initially. Much of what he says makes sense. Organizations are urged to create a Crisis Public Relations plan in advance because there is little chance of manufacturing an effective one during one.

Hessenius says he is going to try to create the lobbying machinery for all non-profits, regardless of urban, suburban or rural setting. I don’t know what his exact plan is, but he wants to do advocacy and lobbying workshops across the country and explicitly asks for his readers’ help in arranging and hosting them. If you are in a position to help him out, read over the entry and contact him.

**He says to email him a reply to the message but there is no email listed which makes me believe he was referring to the fact many have the column automatically emailed to them. If you really want to participate, perhaps contact WESTAF which hosts his blog.

And A Puppet Shall Lead You

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A lot of bloggers, myself included, talk a good deal about engaging audiences, being relevant to the community and getting people to be less passive participants but we rarely point to any examples that work.

You may not agree with their politics, but Bread and Puppet does all of these things pretty well. They are completely dedicated to doing all the things I have mentioned along with keeping art accessible to all. They have been doing it for about 40 years and until 1998, had tens of thousands of people showing up to an unadvertised annual event to participate.

Now granted, it can be easy to get people interested in what you do when they see an immense puppet hovering in the tree (third photo). And the lure of great homemade bread with garlic aioli can’t be underestimated.

They get people involved with the performance of their pieces. During the summer they have shows every Sunday that are rehearsed with members of the community on Saturday.

Back when I was an undergraduate the theatre department at my college had Bread and Puppet come in to get the students involved in a performance. I couldn’t help but be impressed by the costuming and scale of the puppets we were taught to manipulate. I still remember it quite clearly even though it was (mumble) years ago. I also recall how flexible company founder Peter Schumann was with his vision when the number of students who showed up was less than the amount he requested.

So the lesson here is to hone your papier mache and giant puppet manipulation skills, right? Well no. That is their core competency. They are good at it. Chances are you will look foolish if you aren’t. Better to say the lesson is to find a way to tell your community “this is what we do well, come join us in doing it for a day or so.”

Yes, it isn’t appropriate for everywhere. Yet this might be one of the few suggestions I have made that favors the smaller arts organization with more direct ties to the community over the larger ones with the resources to implement new technologies. Getting things rolling might be as simple as an open house with activities. Though I suspect with so many other options available to people, it will take greater cleverness and long term effort to see satisfying results.

I can be pretty dang certain that it will also take an unflinching dedication to the ideals of your effort on the scale of Bread and Puppet’s to realize success. Strange as it may sound, people seem to respond. Bread and Puppet has an apprenticeship program in which they promise apprentices hard work for no pay and a month of sleeping in a tent. Currently, they have filled their 35 apprentice slots for this summer and have a waiting list.

I did plenty of suffering for my art in squalid conditions that didn’t seem to phase me when I was younger. From the description of what the program is not in an attempt to dissuade those with an incorrect understanding of the program, it appears that more than just young students are looking to participate.

I know we would all love that sort of zeal from our employees, audiences and admirerers.