Professional Development: Not an Add-On
When we think about partnering with schools, we’re generally pretty clear that success requires changing how work is currently getting done. We’re also (usually) clear that it’s unfair to ask people to make such a change without providing support. Within that context, professional development is a no-brainer. In arts administration and within local arts agencies, however, professional development is often considered a luxury investment. The hidden assumption in this attitude is that changing how we work is rare, or undesirable. The truth is that any arts organization operating under a “business as usual” mindset is in for an awakening—if not now, then in the near future. Local arts agencies have a responsibility to create space to support those awakenings—and a responsibility to prompt them.
The Battle Wages On for the Arts
Our field collectively high-fived recently when Congress passed the long-delayed budget for fiscal year 2018. Together we beat back the Trump Administration’s proposals to terminate the National Endowment for the Arts and National Endowment for the Humanities, funded now through September 30. Each will receive a total of $152.8 million, $3 million more a piece than last year. Congresswoman Louise Slaughter, who passed away last month, was a fierce champion for the arts for decades, and this win is a very fitting tribute to her longtime leadership. It took the unified, tireless, and persistent work of the arts community and grassroots advocates nationwide to achieve this win. Strong activism resulted in a powerful bipartisan message that arts and humanities funding strengthens and enriches our communities and grows local economies.
A Conversation with Kansas Pioneer Laura Ramberg
Laura Ramberg is a ceramicist, sculptor, and dancer who has been working as an artist in the Lawrence, Kansas community for the past 40 years. A true innovator and creative pioneer, she has taught art classes three times a week at the Douglas County Juvenile Detention Center in Lawrence for two decades. Working with literally hundreds of students over 20 years, she has witnessed fluctuations in policy, changes in facilities, and the digital revolution in youth culture. She has experienced firsthand how art can help people in crisis in the moment, but also how it can change their lives. Arts Education Council member Margaret Weisbrod Morris sat down with Laura to hear about her experiences working with incarcerated youth.
Remembering Louise (1929 – 2018)
On March 16, 2018, a dear friend, tireless advocate, and arts leader passed away, U.S. Representative Louise M. Slaughter. I have known Louise for 32 years. We’ve partnered in nearly that many Arts Advocacy Days. It has always been my honor to stand with Louise. I’ve stood with her on over 100 occasions in the last 23 years while she co-chaired the Congressional Arts Caucus. Americans for the Arts and the nation’s arts community owe a debt of gratitude to Louise Slaughter. There has never been an arts advocate with more tenacity, fight, humor, and spirit of generosity. May she rest in peace knowing that she made the world a better place through the arts, and may her trailblazing pave the way to more arts leaders recognizing the transformational power of the arts on our lives, communities, economy, and nation.
Ballin’ on a Budget? Five Reasons Why You Need to be Using Canva
Arts marketers, if you’ve never used the online design platform Canva, then you need to change that—starting today! Here are five reasons why.
Business Builds Up Brand and Artists in the Bronx
Founded in 2016, Bronx Native is a brand that highlights the Bronx through apparel, art, and media. It was founded by two multi-faceted individuals, siblings Amaurys and Roselyn Grullón. Bronx Native is not only a brand that represents the Bronx as a borough, but also their words and actions provide a platform for the Bronx’s artistic community, entrepreneurs, and its residents. In this interview with co-founder Amaurys Grullón, we discuss how Bronx Native marries their art with business, and the ways they have impacted the Bronx’s cultural community through creative collaborations, live events, and a commitment to showcasing the borough's history and culture through visually appealing design creations.
VSA Texas Distinguished Artist Veterans: A State of Arts & Military Outreach
VSA Texas works with people with disabilities as they access the arts. This can be as a patron of the arts or as an artist. Through our Artworks: Creative Industries program, we meet artists where they are in their hobby or career and act as a resource to move them to where they want to be in that hobby or career. My challenge is to find out what the barriers are for our artists and find ways for each of them to work through those barriers to reach their personal goals. In 2009, we noticed a barrier for Veteran artists within our own services. Veterans in our community were not identifying as artists with disabilities, so they were not entering our art exhibitions or attending our workshops and events. Rather than trying to change their viewpoints, we adapted ours and started programming specifically for Veterans.
Arts Education: Nothing Standard Here
After a recent successful community event, I was able to meet with different community business leaders, one of whom asked the ubiquitous question: How can we, as community leaders, help education? My answer likely surprised him when I said, “You can stop talking out of both sides of your mouth.” He looked at me somewhat stunned as I continued. “You can quit saying that you want us to produce problem-solvers, creative thinkers, and collaborative workers while also complaining about ‘school grades’ that are based on standardized tests that assess none of those things.” My point was simple: You need to demand better data. You need to critique the misuse of standardized test data.
Arts and Gentrification: Potential for Change
In informed discussions about the role of the artist when communities undergo change, words like privilege, displacement, and tools of gentrification often come up. The point is not that the blame for the detrimental effects of gentrification lies in the artist—of course there are much larger forces at play. Rather, the arts are being used as a tool on the path to displacement. If national trends are any indication, the artists who encroach as community outsiders in fact have a stake similar to longtime residents in the process of gentrification. Across the country, the artists initially involved in neighborhood “transformations” are themselves pushed out as rents rise. Artists and arts organizations have an opportunity to recognize their place in the system, and to take responsibility in it.
SAAN By Me: The Good Arts Advocacy Work Happening in Your States
Advocacy promoting arts and arts education funding and policy doesn’t just exist at the federal level. While the federal government funds the NEA at $152.3 million, state governments invest $357.5 million into state arts agencies. However, like the NEA, state arts agencies cannot lobby regarding appropriations, law, legislation, or policy, in their official capacity. Enter the State Arts Action Network—a professional development network of Americans for the Arts comprised of 53 state arts advocacy and service organizations from 42 states. SAAN members work around the clock advocating for pro-arts and pro-arts education funding and policies in their home states. Here’s just a sample of the great work happening at the state level! Here’s just a sample of the great work happening at the state level!
Group Creation in Theater and Dance Builds Trust Among Students in High School Academic Classrooms
There’s an important role arts education can play in relation to school violence: prevention. Since the Columbine High School shooting in 1999, Maine high schools have had access to Building Community Through the Arts, a performing arts program that lowers social barriers and builds trust within the classroom. The Maine Alliance for Arts Education sends professional theater and dance educators into high school academic classrooms to engage all the students in the class in creating an original drama or dance piece together over eight hours of class time during school hours. The group experience is daunting at first for many students, and many are initially reluctant, but by the end the students feel differently about each other and about theater and dance itself. A pre- and post-test administered to each class, designed by the University of Maine, gives us the data that confirms this.