HOW TO MAKE A DIFFERENCE

HOW TO MAKE A DIFFERENCE–A REAL DIFFERENCE

We have taken the view, in these pages, that advocating for arts by lobbying, protesting, letter-writing, etc. are, at best, ineffective and, at worst, detrimental. Artists of all stripes are labelled as a special interest group or, perhaps more accurately, a self-interest group. In other words, members of the general public and the policitians that represent them, do not see artists as contributing any more than the decorative frosting on the cake of important concerns. And, when the arts are not being decorative, they can be downright offensive.

Consider this quote from a recent article in the Boston Globe:

“That music educators and classical music advocates are looking elsewhere for inspiration may come as little surprise. In many US cities, orchestras are watching their sense of broader cultural relevance diminish, classical music is vanishing from television and the airwaves, and its audiences are shrinking and graying. For their part, music educators often feel embattled, watching funds being sliced from public budgets, as arts education is viewed as fat we can afford to trim. [emphasis added]

“These problems will require fixes from many angles, but in the end, solutions cannot come without a radical redrawing of the map of who has a stake in classical music as an art form.”

For “music educators” and “classical music” read “all forms of art.”

There is a movement, however, that shows that profound social change is possible. Yes, it will take time, and, yes, it will take effort, but the results will transform society. I’m talking about El Sistema, the remarkable Venezuelan music program that has not only changed that country but is also now being recognized around the world for its potential to effect real transformation.

And let’s remember that people who grow up with music—and we mean classical music, with its necessary discipline, history, and aesthetic refinement—have opened the door to appreciation of all the arts.

It’s happening right here in Vancouver at Saint James Music Academy. Now in its fourth year the Academy offers free music instruction and ensemble playing to youngsters from the downtown eastside. For the seventy-five or so kids learning to play violin, viola, cello, piano, classical guitar, and choir, the Academy has provided a meaningful focus in their lives. Real change can happen! This is a movement that can spread to all levels of society and throughout British Columbia and, indeed, the entire country.

Why not get involved in real change?

We invite you to do some reading about El Sistema and about the Saint James Music Academy.

Catching the upbeat to a new movement (Boston Globe)

There is Magic in the Music (Boston Globe)

El Sistema USA

Saint James Music Academy (Watch our kids in action.)

“Ultimately, it is not only those passionate about musical access and the plight of underserved youth who will be invested in the success of El Sistema-inspired programs — and their preexisting sibling efforts — in this country. It is also the embattled classical music establishment itself. Whatever the market research might be telling orchestra administrators, long-term solutions to the problem of dwindling audiences will not come from singles nights, video game takeoffs, or pop stars fronting orchestras. Gimmicks or pandering will not work. Savvy would-be listeners can sniff the desperation.” (Boston Globe)

Arts Think Tank Anyone?

Maybe we need to develop an Arts Advocacy Think Tank that is similar in structure to the Fraser Institute and over time, slowly develop “research” and become an authoritative voice on arts that government will listen to.

Just a thought.

Check out this Tyee article about the Fraser Institute.

By John McLachlan: This is a response to the idea of Cultural Democracy . discussed in the previous post on this site.

I wonder, do we really want cultural democracy? What would it look like?

I am conflicted on this issue.

We can talk in abstract terms but there comes a time when we have to narrow this down to actual examples of how the arts funding scene would change if a different model were developed.

Let’s look at a real example and how changing from this curatorial model could work. I co-ordinate the Community Presenters Assistance which is a program of the BC Arts Council and administered by the BC Touring Council.

The program provides funding to community presenters throughout the province who book touring artists as part of a season in their community. It includes both volunteer and professional presenters.

Once per year these presenters apply for a grant to assist with fees they pay professional artists. Only performances of professional artists are able to be supported through the program.

There are two levels of “curatorial” work done here. One is at the grants level itself where a peer review committee looks at each application to ensure it meets the requirements of the program and makes recommendations on funding level. In my opinion, the primary purpose of this committee is to be oversight of public funds. There is very little “artistic” meddling which frankly, is a good thing.

The other level of curatorial work is done by the presenters themselves when they choose who to book to perform in their communities.

The benefits of the current system are that you have people in each community choosing who will come and perform. I highly favour this method. If you didn’t do it this way, you’d have organizations like the BC Arts Council deciding which artists would work and where. Or, heaven forbid, you’d have governments telling you what you’d be doing. In some ways, the Canada Council, in choosing which artists to support is also saying who will thrive/who will die. It is always done with the best intentions as in “your heart is in the right place but your head is up your @%%”

Is the program perfect? Does it address everyone’s needs? Is it truly democratic? No, but… if we were to remove the curatorial aspect of this, what would we be left with? The program I’ve just described would be gone. And with it, a whole lot of small concert series and a whole lot less work for emerging artists who wish to tour. Is that a good thing? I don’t think so.

Perhaps, if we want to be democratic about this, we should just remove all funding for professional artists, companies and organizations. Let’s just give all the money to the arts councils around the province to set up programs for people to do art. But wait, isn’t that curatorial?

Let’s get really democratic and just give each citizen a cheque to spend on arts as they see fit. Based on how much our government spends now per capita on arts funding, I could buy a new set of guitar strings and a paintbrush.

I guess my point is, I think we still need both types of support.

We often talk of democracy as if it’s the height of a civilized world but since when is democracy perfect? We have elections now where fewer people voted for the party in power than didn’t. Is that democratic and fair? No, it’s messy.

I think we need the messy system we have but be open to making changes and adjustments.

What are your thoughts?

CULTURAL DEMOCRACY

AABC  board member Lynn Curtis sends us the following. We’d be interested in hearing your thoughts.

Subject: AFC Lecture: Cultural Democracy in a Time of Diminished Resources

The American Folklife Center presents a lecture in the 2010 Benjamin
Botkin Folklife Lecture Series

Cultural Democracy in a Time of Diminished Resources

presented by Bau Graves, Old Town School of Folk Music, Chicago

July 22, 2010, 12:00 noon – 1:00 pm
Mary Pickford Theater, 3rd Floor, James Madison Building, Library of
Congress

Simply stated, “Cultural Democracy” is the notion that everybody’s
heritage and cultural expression is worthwhile and deserving of an
equitable share of whatever resources are available. In recent years,
Cultural Democracy has also gained traction as a descriptor for the
whole realm of participatory, community-centered arts activities,
practiced by millions of Americans everyday in their homes,
backyards, public parks, places of worship, schools – pretty much
everywhere except in the designated art spaces of our museums and
concert halls, where they happen infrequently.

The mechanisms that we have inherited for the support of public
culture were inspired by the practices of the fine arts economy of
the first half of the 20th century, and were designed to validate
curatorial authority.

This is the top-down version of culture.

Financial and programmatic decision-making is vested in highly-
trained, credentialed individuals who are positioned to determine
what the entire community should see, hear and experience.

Cultural Democracy requires a paradigm shift away from this curatorial model,
and towards a process of continuous and intense community engagement,
using culture as a catalyst for addressing social issues: art of the
people, made by the people, and presented for the people.

James Bau Graves is Executive Director of the Old Town School of Folk
Music, in Chicago, Illinois, the largest community school of the arts
in the United States.

His work is focused on exploration of the personal, political, aesthetic and
ethical issues embedded in the concept and practice of public culture.
He is the past Director of the Jefferson Center Foundation, in Roanoke, Virginia,
and co-founder of the Center for Cultural Exchange in Maine, where he facilitated
the creation of an extended series of programs, in close
collaboration with community groups and artists, addressing grass
roots cultural aspirations, questions of identity and social/
financial power relations.

Bau’s work as a field researcher, arts presenter, community organizer,
project manager and tour director has been prolific, winning numerous
awards from the National Endowment for the Arts, the Wallace Foundation,
Americans for the Arts’ Animating Democracy program, the Rockefeller Foundation,
and many others.

Bau has performed and recorded with several jazz and
traditional music ensembles, and composed original scores for two
collaborative projects with dancer/director Ann Carlson. He holds a
Masters degree in ethnomusicology from Tufts University, has
published essays concerning cultural issues in both the academic and
popular press, and has appeared on and/or produced numerous
recordings.

Bau Graves’ first book, Cultural Democracy, was published
in 2005 by the University of Illinois Press.

For more information, please visit http://www.loc.gov/folklife/events/
botkin-lectures.html#july22 or call 202-707-5510.

Jo Rasi
American Folklife Center
Library of Congress
[email protected]

I came across this very interesting study about effective advocacy. I know it’s a fairly long read–complete with charts and tables–but it’s worth taking the trouble to download and read. This link will get you there:

What Makes an Effective Advocacy Organization

“This analysis and framework can be useful to any kind of organization interested in increasing its effectiveness related to advocacy…”

One point that I found especially resonant is the importance they place on leadership.  Where is the leadership we need to advocate for the arts–with the public as well as with government? In fact, why should government pay any attention to our voices unless we have the support and following of a large public. I am reminded again of the environment movement.

Where is our David Suzuki?

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