View of Ancient History From Someone Who Played In The Ruins

by:

Joe Patti

Ceci Dadisman recently tweeted a PRI piece about University of Pennsylvania Museum of Archaeology and Anthropology hiring Iraqi and Syrian refugees to act as tour guides in their Middle East galleries. This is in part an effort to help draw connections between ancient civilizations and the cultures of those living in those same places today.

One of the guides talks about how he played soccer in the ruins of the ancient city of Ur and it wasn’t until he grew up that he gained a sense of the enormity of the history that occurred beneath his feet.

The museum’s education director said the guides provide knowledge and context that he and other staff simply couldn’t provide.

“At some point in almost every tour somebody will say, ‘What about today? Do they still eat these things today?’ Or, ‘Is this place still a place people go?’ And I’m like, ‘I don’t know. I can’t answer your question.'”

The guides can also engage in more nuanced conversation on issues of theft of antiquities by colonial occupiers versus the intentional and collateral destruction of historic sites by conflicts throughout the Middle East

When I see stories like this, I am reminded of the museum scene at the start of the Black Panther movie and wonder if efforts like this are coincidence, intentional, or subtly influenced by the movie and similar discussions about acquisition and ownership of cultural artifacts.

Earlier this month Non Profit Quarterly wrote about how the Metropolitan Museum of Art had placed Native American art in its American wing. In the past Native American art exhibits had been placed in African, Oceania or Americas wings. NPQ says it was only due to the insistence of a donor that the art was placed in the wing of its country of origin.

“That is hard to hear—that it was the requirement of a donor that enabled a long-overdue shift away from a colonialist positioning so exclusionary that Native Americans were relegated more easily to galleries devoted primarily to other nations.”

These stories may give rise to some conflicted feelings as we struggle with long held practices. But these stories are also part of a growing recognition that for some there is value in perspectives that aren’t necessarily informed by highly educated study of topics. For example, not long ago I wrote about Jawnty tours at the Barnes Collection in Philadelphia which were being led by a range of community leaders, comic book store owners and artists.

Talking About Impact of Casinos Now Might Mean You Don’t Have To Lose Even If The House Always Wins

by:

Joe Patti

Four years ago I wrote about a coalition of performing arts organizations in upstate NY that was fighting to mitigate the impact of having new casino projects compete with them for performing arts talent.

As I had written, what often happens is that a casino is in a position of offer a lot more money to artists thanks to their revenues from gambling and hospitality. So an artist you could contract for $25,000 for a single performance can now get $40,000 a night for a week at a nearby casino.

Even if the artist might be willing to accept a lower fee at your venue, exclusivity clauses in their contract may prohibit them from performing in a 50-75 miles radius 90 days prior and 60 days after their casino engagement.

When I wrote that post four years ago, a commenter asked that I keep up on the efforts of the performing arts organizations, Coalition for Fair Game and update readers. I have been thinking I needed to circle back to the story and write another post.

The topic got brought to the top of my attention today at a meeting of Georgia performing arts presenters where a group that has been lobbying legislators on this issue gave a report on their efforts.

One of the things I did not realize is that many states are requiring that casinos earn a certain portion of their income from non-gambling sources like entertainment and hospitality. To some degree then, casinos are being forced to move into competition with non-profit performing arts organizations.

The guy reporting on the lobbying efforts said until they started talking with lawmakers about the repercussions of this requirement, it never occurred to the government officials that these requirements would have a negative impact on arts organizations locally and statewide.

So if your state is starting to look to legalize gambling or increase the presence of large casino complexes, it may behoove you to start conversations with lawmakers about the implications of these decisions.

As the discussion of the problem and lobbying efforts was occurring, I did a quick online search to learn more about what might have happened in upstate NY over the last few years. It just so happens, a newspaper wrote a pretty detailed story on the subject last month.

According to the Poughkeepsie Journal, the Coalition for Fair Game has received $500,000/year to help offset the impact of the casinos’ entertainment operations.

“If there wasn’t an agreement and this ongoing, open dialogue, we’d be constantly broadsided,” said Silva, who runs the Bardavon, presents shows at UPAC and Hutton Brickyards in Kingston and is currently president of the theater coalition. “We could be negotiating in good faith for an act and make an offer and get bumped because the casino gave $10,000 more.”

[…]

The money is designed to offset any negative economic impact that the casino’s headlining entertainment could have on the Bardavon and Bethel Woods. Resorts World Catskills allocates the funding to the theater coalition, which emerged in 2013 and includes venues from Albany to Elmira.

Similar deals are in place elsewhere in the state and can be found in Massachusetts.

In addition to the cash, this deal gives the Bardavon and Bethel Woods a say in the size, scope and number of entertainment offerings at Resorts World Catskills. The agreement and the casino licenses last 10 years and the payment from the casinos to the coalition is not affected by any fluctuations in gambling revenue.

Armed with the knowledge that the arrangement in upstate NY was working, I asked the speakers if they were aware of this arrangement and if they contemplated creating a similar situation if legislation went forward to authorize construction of proposed casinos.

They were aware of the arrangement in NY, but said while it was by far the best arrangement of its kind in the country, it is still an imperfect situation and that they would endeavor to carve out a better environment for the state.

Seems like something to continue to keep an eye on.

A Lot Of People Got A Seat At The Table

by:

Joe Patti

Yesterday I got to do something I have been dreaming of doing for a long time.

Now keep in mind, as an arts and cultural policy nut, my dreams tend to be a little different than everyone else’s.

Yesterday I participated in On The Table Macon, a project whose goal was to get people out talking about how to change their community.

The reason I had been dreaming about being able to participate in this was a long time was because I have been enamored with the basic concept since it was executed as 500 Plates in Akron, OH and the Longest Table in Tallahassee, FL.

When I saw there was going to be a similar effort in Macon, I signed up to participate on my second day on the job here.

(Just a little disclaimer, the major funders of the local On The Table, the Knight Foundation and Community Foundation of Central Georgia, fund my organization.)

Instead of a discussion occurring in a single place at a set time, there were dozens of discussions occurring across the community with the first ones starting at 7:00 am and the last one beginning at 8:00 pm. The topics covered everything imaginable, including some which were specifically intended as forums with government officials.  People agreed to act as hosts in parks, private homes, business offices, libraries, churches and community centers. In total, there were over 1500 seats available around the community.

While the general concept emerged from the idea that community bonds are forged over meals, the organizers were empathic that “It’s not about the food.”  I imagine this was in part to prevent those who volunteered as hosts from feeling obligated to provide a gourmet experience for dozens of people. Also so that participants weren’t focused on attending the sessions with the best food choices versus the most engaging topics.

Other than wanting to be part of the basic experience, my motivation for participating was to get a sense of the community to which I had recently moved. The first session I attended was at the public library where the topic was “Preserving Ethnic History.”

Readers of this blog know that I often talk about people desiring to see their stories depicted by arts and cultural organizations. Since I helped Hawaiian artists tell their stories through performance, I wanted to learn if similar opportunities for partnerships might exist in this community.

As much as I was interested in the topic, I as concerned that the subject might have too much niche appeal to attract many participants. I need not have worried as the table quickly filled and needed to accommodate some chairs at the corners.  The conversation that emerged was very interesting as the group had to tease out the differences between culture, ethnicity and identity before we could really define what it was exactly that was important to preserve.

A comment made by a woman who has taught manners and etiquette all her life cut across all subjects and seemed particularly applicable to arts and culture practice. She said her mother always emphasized that she and her siblings were to always consider themselves as sharing something rather than giving because both parties gained from sharing whereas one party always lost something in giving.

The second session I attended didn’t have an announced topic and instead employed some of the prompts provided by the On The Table organizers.

The third session was lead by a group that is trying to educate people about the state budget and how it is allocated. That conversation was focused largely on where the priorities of the society should be rather than talking specifically about the state budget. Those materials were available as hand outs to review at home.

Below is the prompt card from the session yesterday. If you were interested in doing something similar, you might check out the Chicago Community Trust On The Table website. I had read somewhere that they started the effort which has been replicated elsewhere. Certainly, you might want to search out the websites of the different communities that have hosted these events. Every community is different so some iterations may match your community better than Chicago’s.

I also wanted to point to the 500 Plates and Block Party in A Box toolkits which are among many useful tool kits for change being hosted on Springboard for the Arts’ Creative Exchange site.

 

 

What Would You Do If A Funder Encouraged You To Push Them To Do Better?

by:

Joe Patti

I was skimming some entries on the Americans for the Arts blog when a couple sentences made my eyes visually screech to a halt and shift into reverse because I wasn’t sure if I read what I thought I did.

Lawrence Brad Anderson, Executive Director City of Salina KS Department of Arts & Humanities related a story about a prospective grant applicant in a situation I think we can all empathize with–though with a very atypical ending.

Our new staff member did an excellent job reviewing the grant guidelines and preparing him for the process, but as the meeting was wrapping up, I saw that something was still missing.

“May I share an observation with you before you go?” I asked. “Sure,” the artist quietly replied.

“I sense that you feel you may not be worthy of funding for your expressed need. This couldn’t be further from the truth. You have prepared as a professional in your field, you are active in musical performances, and your passion for what you do is evident. In addition to your own individual expression, I want for you also to consider being a mentor and artistic leader in this community. We need people like you to be a positive voice as an artist and a valuable member of this town. We may not always be able to anticipate your exact needs, but you have my permission to push us, ask questions, and encourage your peers to step up their game and get engaged.”

As I completed my statement he lifted his head and I could see that he was silently weeping. Whether this recognition was the cause, or as a man of color in a largely white community, he was unaccustomed to being affirmed in such a strong way. The experience served as an important reminder of the role and responsibility arts administrators serve in their community.

As I say, I think we can all identify with feeling despondent that our programs or organization is not suited to the particular criteria of a funder.

But it is pretty dang rare for a funder to tell us explicitly that we are well suited for their program, challenge us to expand our leadership role in the community and encourage us to push them as funders.

I think we would all join the artist in silently weeping.