Americans for the Arts

The idea to exchange visual art and musical performances for healthcare was hatched in a conversation over a beer between a Kingston, NY, dentist and a painter. From that creative brainstorming session a small group of underinsured artists and providers was formed to found the first O+ (pronounced O Positive) Festival in 2010. The inaugural festival featured a parade, paste-up murals, and concerts in empty storefronts, and volunteer providers built a small pop-up clinic to care for the participating artists and musicians. Their simple idea of exchanging “the art of medicine for the medicine of art” acknowledged the value that everyone brought to their community. The festival was a way to both celebrate that and bring attention to the inequities of the American healthcare system. At the heart of the festival is the Artists’ Clinic and Greenroom. Participating artists, musicians, and volunteers receive care from volunteer nurses, doctors, bodyworkers, and mental health professionals in a clinic we install in a community hall and from dentists in their offices. An insurance navigator from The Actors Fund is on hand to provide information and guidance. The hall also houses our Greenroom, a place for participating artists, musicians, volunteers, and healers to relax over a home-cooked meal.

Musical traditions hold a unique power in cultural belonging and identity for the communities and cultures from which they grow. Preservation and performance can be a political act of cultural self-determination, expression, and continuity. The stories, meaning, and sounds embodied by traditional music can gain new power for new audiences and broader communities, when linked to contemporary issues and concerns. The four extraordinary musicians featured in this installment of our blog series celebrating nominees for the 2020 Americans for the Arts Johnson Fellowship for Artists Transforming Communities draw upon cultural traditions and sometimes stretch and merge them with other forms to embrace a broader holistic view of culture and humanity. These musicians are: Dom Flemons, American roots ambassador; the Reverend John Wilkins, a bearer of blues-influenced gospel of Mississippi hill country; Christian Scott aTunde Adjuah, a Black Indian and jazz-rooted genre-blind innovator; and Tiokasin Ghosthorse, master player of the ancient red cedar Lakota flute. 

Venus De Mars and Luke Stewart are among the 11 exemplary music artist nominees for Americans for the Arts’ 2020 Johnson Fellowship for Artists Transforming Communities featured in our ongoing ARTSblog series. At different career stages, these artist-activists may be considered by some on the musical fringes. What they hold in common is a steady and deliberate dedication to bringing their communities out of the margins and advancing and improving conditions for them to thrive. As a punk rock singer-songwriter and transgender woman, Venus’ performances, speaking, and compassionate presence have created spaces of affirmation and communion for transgender people and fostered openness and understanding among audiences across the gender spectrum. Luke moves effortlessly between artist communities in jazz, DIY punk rock, and, most of all, improvised music. He uses his improvisation skills to be alert to and advance conditions that will allow musicians across these genres to create, perform, and learn from one another, while expanding appreciation and audiences for their work.

The Dance/NYC Junior Committee (JComm for short) is a group of dancers, arts administrators, and advocates that includes emerging leaders from the field working to create positive change in the New York City dance and artist community through research, activism, and community support. Through this challenging time, JComm has been a community I could rely on for support and comfort. As “social distancing” became an increasingly common theme among social media feeds, the news, and even my favorite podcasts, I was concerned and disappointed that I wouldn’t be able to feel connected or stay close to this dear group during a time of panic. 

The National Assembly of State Arts Agencies (NASAA) recently published their FY 2020 State Arts Agency Revenues Report. By any measure, the report paints a very positive picture for state funding of the arts, with year-to-year appropriations increasing by more than 37% to a grand total of almost $495 million in total legislative appropriations. Because the economy is doing well, it stands to reason that SAA appropriations would be higher. While it is true that a strong economy makes increases more likely, a strong economy alone cannot explain this year’s massive increase. There in an interesting equation at work: If your state has a State Arts Agency that is engaged in thoughtful programming, a strong statewide arts advocacy organization, and advocates who are proactively engaged with your state’s existing political leadership, more funding/pro-arts policy are possible! 

New York Foundation for the Arts (NYFA), founded in 1971, empowers artists at critical stages of their creative lives. One of the ways NYFA serves our mission is through our Immigrant Artist Mentoring Program (IAP) that has served more than 460 mentees since 2007. A large part of the success of this program is the fostering of communities and networks that enables participants and consultants to connect and collaborate to create more opportunities for artists to showcase their work and push their practice to new levels. A clear example of this is a recent NYFA/New York Live Arts (NYLA) collaboration initiated by Yanira Castro, a Puerto Rican, Bessie Award-winning artist based in Brooklyn, and Martita Abril, a performer, choreographer, teaching artist, and mentor of the IAP Program. With the goal of reflecting on the multiplicity of their experiences, identities, practices, and politics, these artists also speak to what holds them in common: the experience of displacement and disorientation, and the work of communicating/finding/forming community.