The Americans for the Arts Emerging Leader Network works to identify and cultivate the next generation of arts leaders in America. It is an ideal way for new leaders to share their interests with others as they continue to develop their skills and their commitment to the arts. The Emerging Leader Network targets professionals who are either new to the field, with up to five years of experience, or are 35 years of age or younger. Visit AmericansForTheArts.org for more information on the Emerging Leader Network.

One of my favorite #earlyartsed resources that I pinned to our board.

One of my favorite #earlyartsed resources that I pinned to our board.

Thanks for joining us this week as we shared our ideas, thoughts, and resources for the arts in early childhood education. If you missed any, you can read all of the posts from the Blog Salon via http://bit.ly/earlyartsed.

While I loved hearing about programs modeled after Reggio Emilia, theatre for the very young, and ways parents can encourage creativity, I have to say that my favorite part of this week was seeing so many cute preschool faces! For someone who works in arts education, it doesn’t get much better than seeing the joy of a young child discovering something through the arts.

Many of the images I loved seeing were part of the Pintrest board we created in addition to our posts here. Hop on over there to see more resources from our amazing bloggers and others, including research, quotes, and art activities to explore with children. This was my first experience with Pinterest, and I must admit that I’m hooked!

But many of our bloggers included wonderful images in their posts too, so without further ado, here is our week in images (please visit Flickr if the player is not working in your browser):

Thanks for helping us celebrate Youth Arts Month on ARTSblog and remember to check back for arts education posts nearly every week and join our next Arts Education Blog Salon in September!

Degree of Entry?RSS Feed

Posted by Todd Eric Hawkins On March - 20 - 20136 COMMENTS
Todd Eric Hawkins

Todd Eric Hawkins

During the last Americans for the Arts Annual Convention in San Antonio, I had the privilege of facilitating a roundtable on how to navigate a mid-career shift to the arts. The remarkable individuals I met during that discussion reinforced one of the things I love about arts administration and the arts in general, their entry points were varied and all are vital to the field.

Since entering arts administration a few years ago, I have had numerous conversations with arts leaders of all ages regarding the question of getting a Masters Degree. Part of the reason for this is that I did get a Masters Degree in Arts Administration in 2010 and I am often called on to tout the benefits of my alma mater to prospective students, which I do enthusiastically.

When I graduated three years ago, I would have told you that a Masters Degree is absolutely necessary, which was completely true in my case. I would never have the opportunities I now have without my graduate program. In the past three years, however, I have discovered an additional inescapable path to leadership, the road.

The road is paved with obstacles and pitfalls that every leader must face and that no Masters Degree program could possibly teach. They only thing the very best ones can do, is prepare you for the journey.  Read the rest of this entry »

Steven Dawson

Steven Dawson

What happens when an arts organization’s business model no longer works?

Well, as with the metaphor of the shark, it must continue to move forward or it will die.

For decades, the arts organization model has remained largely unchallenged, because there was no reason to challenge it. It almost served as a microcosm of “The American Dream.”

Everyone wanted to start their own organization, and the great entrepreneurial spirit in the United States created a thriving environment for this mindset. Margo Jones, one of the regional theatre pioneers in the 1950s, supported the idea, saying “What our country needs today, theatrically speaking, is a resident professional theatre in every city with a population over one hundred thousand.”

However, as Rocco Landesman so famously said, audiences have begun to dwindle while the number of organizations continues to rise, and there should be fewer arts organizations. I am in no way saying that some organizations should just close up shop so that another can benefit. But this is definitely something to think about.

There are only so many contributed dollars out there for the arts. This trend of continued marketplace crowding will eventually lead to organizations relying quite heavily on earned income to meet budget. And as I mentioned a few weeks ago, many organizations must keep prices low (affordable) in order to fulfill their missions. Put those two factors together, and it doesn’t add up to success.  Read the rest of this entry »

Rep. John Lewis (r) receives the 2009 Congressional Arts Award from Robert Lynch (l)

Rep. John Lewis (r) receives the 2009 Congressional Arts Award from Robert Lynch (l) during Arts Advocacy Day.

One of our great American leaders, Congressman John Lewis, has been celebrated in the news quite a bit recently. It is the 48th anniversary of the civil rights march across the Edmund Pettis Bridge in Selma, AL. The march was led by a young John Lewis—his skull was fractured, and for that sacrifice an enormous gain for civil rights and for voting rights was realized.

Congressman John Lewis is also a great arts leader. For years he has personally led the fight for fair tax treatment of artists. Many times over the last several decades, he has brought his powerful story of how the arts and the Civil Rights Movement were invaluable allies to Americans for the Arts gatherings.

He has pointed out that the arts—from folk or gospel or classical music performed in jails or the streets or in concert halls, to the visual arts in portrayals of the struggle through posters and placards—were a key to motivation and hope as the Civil Rights Movement progressed. We all honored him last week as he, Vice President Joe Biden, and others reenacted that famous bridge crossing.

During the State of the Union Address, President Obama highlighted the civil rights of the broad face of America when he honored the battles and sacrifice at Seneca Falls, Selma, and Stonewall. And during this year’s Academy Awards ceremony, First Lady Michelle Obama honored the transformative power of the arts and arts education for everyone when she said, “[The arts] are especially important for young people. Every day they engage in the arts, they learn to open their imaginations and dream just a little bigger and to strive everyday to reach those dreams.”  Read the rest of this entry »

Arts Advocacy Day in Washington, DC is less than a month away and with the recent sequester cuts and still-looming budget battle to come, it is vitally important that members of Congress hear how important the arts are to you and your community in person.

Even the staunchest supporters of a tight fiscal policy believe in the value of arts education. In this new video, Senior Director of Federal Affairs and Arts Education Narric Rome provides a quick snapshot of the importance of federal arts education advocacy:

Arts Advocacy Day will take place April 8—9 at the Washington Marriott Wardman Park and the Cannon House Office Building on Capital Hill.

In addition, the Nancy Hanks Lecture on Arts and Public Policy will be an inspiring speech and performance by Grammy Award®-winning musician Yo-Yo Ma at The Kennedy Center at 6:30 p.m. on April 8. Tickets are included for Arts Advocacy Day participants and are still available to the public.

Don’t miss out on this opportunity to add your voice to the chorus of those asking Congress to support the arts and arts education!

Joshua Midgett

Joshua Midgett

The expansion of marketplaces from local to global is rapid. As technology continues to evolve and the world ‘shrinks’, cross-cultural exchange and appreciation are vital to the success of an individual in any field. It is especially significant in the field of the arts, where so often culture finds its voice.

In a field where planning is already a difficult task, it is significant to discuss this expansion of perspective. The international aspects of audience, cooperation, cultural differences, and philanthropy add an extra piece or pieces to the organizational puzzle. This new challenge has not gone unnoticed by the arts management community.

Here at American University, a new Certificate in International Arts Management has been recently unveiled. Nearby, the Kennedy Center has been working with and training international arts managers since 2008.

Programs across the country are beginning take notice, and if entire degrees aren’t dedicated to the topic, many classes will be. While this field is as young as the technology that is accelerating its development, there is little doubt that it will soon be an integral part of any arts management training.  Read the rest of this entry »

Steven Dawson

Steven Dawson

Regardless of the organizations mission, values, programs, etc., what is the ONE common factor that is needed to execute an organization’s purpose?

Money!

As much as we dislike connecting our important work to the dollar, the simple fact is that without it, we cannot pay our staffs, purchase materials, and pay the electric bills…and thus provide our services.

So there we have it, we must have funds to fulfill our missions. However, unless you are the lucky few, earned income doesn’t even come close to covering your budget. So to take the statement even further; we must have CONTRIBUTED funds to fulfill our missions.

Now with the sequestration set to go into effect, the National Endowment for the Arts (NEA) budget will be cut by 5%, or $7.3 million, and grants will decrease. (But let’s be honest, NEA funds have really just become a stamp of approval…and important stamp, that is…rather than actual difference-making funds).

Foundations are changing the focus of how and what they fund. And corporate philanthropy, while rebounding, will not cover the balance. So, lets take that earlier statement even deeper. We must have INDIVIDUAL contributed funds to fulfill our missions.

This can be a problem, though, because this all important aspect of nonprofit management is most likely the most uncomfortable aspect of nonprofit management. It is just human nature to avoid asking for money, even from people you know.  Read the rest of this entry »

Hannah Sawhney

Hannah Sawhney

Every organization needs a brand—it’s your core identity—the nucleus of the cell. Everything revolves and functions around it. But there’s more to it than just a design-savvy logo, and as arts marketers, we need to keep this in mind when thinking about branding.

In the National Arts Marketing Project’s most recent e-book, Turn Branding OOPS into Branding WHOOP WHOOPS, we look to the different aspects that make up a brand; focusing on ones that are have been successful with their branding efforts and others, well, that have lacked the “whoop whoop” factor when trying to reach the top.

Although we may think that we have what it takes when it comes to knowing our arts patrons, when it comes to brand management there are some key pitfalls that if overlooked can be harmful or even detrimental in the long run.

So how does one know what is behind that well-designed logo? Or, when undergoing a major re-branding effort or even starting from scratch, how can we ensure that we are taking the right steps to success?

Here are 6 points to make sure your brand doesn’t fall into the OOPS category:

1)      Switching Gears. Re-branding can make for a sticky situation. Why? Because when you’re making a major change to something that your long-time fans care about, your consumers are quick to notice (especially in the digital age). Make sure to have a strategy that stays true to not only your brand, but your audience as well. Read the rest of this entry »

We recently launched a new series on ARTSblog that spotlights the staff at Americans for the Arts that I call "Ten Questions with...", in which I will ask everyone the same questions and see where it takes us. Last time I interviewed myself as a test case and  this week I have turned to Hannah Jacobson who currently serves as Executive Assistant to President and CEO Bob Lynch. 1. Describe your role at Americans for the Arts in 10 words or less. Writing; editing; calendaring; herding; travel booking; prepping; printing; note taking; pinch hitting 2. What do the arts mean to you? There has been no time where I wasn’t involved in the arts. There are pictures of me before I can remember next to and posing as Degas sculptures. I feel a real personal connection to the arts even though my stick figure drawings didn’t lead to a fashion career or visual arts (success?). I was in my first play at 7, playing a dwarf in “The Hobbit” and was in no fewer than six shows per year up until college.  This includes “Barnum,” which led me to my great secret talent: balloon animals.  Yes, I still make them. In college I started singing. Thinking back on the trajectory, I never thought of the arts as a career path until college, but the arts were always everywhere and inevitable in my life (maybe I owe something to my extreme lack of athletic ability). At summer camp, I picked the two art courses (Art, Politics, & Society and Philosophy of Art) to take as part of the academic program. My AP History paper was on the culture wars with the National Endowment for the Arts, but it never occurred to me that it would lead me somewhere. It was in my first art history class in college that I realized it all led up to that point and career path. The arts contextualized me in a lot of ways. I can reach back to arts experiences to make sense of where I was at that specific point in my life. I think a prevailing assumption is that acting helps you explore yourself through becoming someone else, and I think that’s true, but I used to walk alone into the dark theatre and sit on stage looking at the empty seats and it felt just as deeply personal—the arts were a safe space for me, but they were also a sacred space. Sitting on the dark stage was different in an elemental way than any other place. It wasn’t just the performances, it was the essence of the space and allowing myself to live in that place, even if for just a moment.  The arts have always provided an access point for me, guiding me to accept and appreciate the moment and the state in which I find myself—good, bad, or anything in between, the arts have always helped me to see the vibrancy of the world and gain a true sense of being present. 3. If you could have any career you wanted (talent, education not required), what would it be and why? I would own a bakery. 100%. I realize in the age of food blogging that suddenly this is hugely en vogue, and I have read MULTIPLE times that bakers say that it’s no fun, but I am going to pretend I don’t know that and stick with the fact that I love baking.  That’s what I would do. 4. How many places have you lived? Where? Six. I was born in Santa Monica, CA and moved to Los Angeles at two. We then moved to Ann Arbor, MI, but not before my brother and I ran around the dining room for hours screaming. I asked if I could bring Chinatown, the ocean, and our lemon tree with us. I moved to New Haven, CT for college, spent most summers at home in Michigan with the exception of one in D.C,. and a semester abroad in London before returning to live in D.C. 5. What is the best compliment you’ve ever received? My a cappella group was singing at Mory’s, a Yale dinner club, and after finishing my solo (“You’re No Good” by Linda Ronstadt), one patron said, “When they were giving out personalities, they gave you two!” I took that to mean I had a lot of personality (and I’m sticking with that interpretation!). He also said I had “come one to a box.” His compliments were delightfully odd and shockingly insightful. 6. Name three people in history (dead or alive) with whom you would want to sit down to dinner. I’m going to have to have two dinner parties. For a philosophical, somber wine and cheese gathering I would like to speak with Roland Barthes, Zora Neale Hurston, and Viktor Frankl. Barthes’ Camera Lucida is one of the most influential books I read during college in terms of my academic interests and the way I learned to think about and interpret visual art, Hurston’s autobiography is a spectacularly exuberant study of a life lived in full color, and Frankl’s book, Man’s Search for Meaning, is staggeringly beautiful, universally meaningful, and beyond all else, powerfully human…and it has not left me since I first picked it up at age sixteen. For a fun, outdoor picnic (preferably hosted by F.Scott Fitzgerald, but I’m flexible), I would love to spend time with Claude Monet (I have loved him since the age of three, when I encountered him in Linnea in Monet’s Garden), Ruth Reichl (her memoirs are fantastic), and Ben Franklin (I’m a colonial history dork and 1776 is my favorite movie).  If I can include fictional characters, I would invite Eloise in a heartbeat.  My idol. 7. Would others say that you can dance? Explain. People call my dancing style “the Hannah” (Editor’s Note: Which I would describe as a little Peanuts’ Sally Brown meets Hair). I was also known as Boppity Short Girl in my a cappella group (see video). 8. What is the earliest memory you have of being an audience member for a live arts event? I think my first memory was at 2 or 3 years-old at a Sharon, Lois, & Bram concert. I can remember twirling in the aisles incessantly. The most meaningful performance I can remember was “Kiss Me Kate” on Broadway. The show inspired me beyond measure. It made me see what’s possible as a performer and how engaging a live performance can be. 9. What would the title of your autobiography be? “Always Looking Up: Life from the Five Foot (and a Quarter Inch) Line” 10. Finally, if you could paint a picture or take more photos of a place you have been in your life what would you paint or photograph? First of all, I wish I could paint!! This is a tough question because, like Tim (link), I take a lot of pictures, so it’s rare that I need MORE pictures—in fact, it would probably be more helpful if I were a little better at editing. That said, I wish I had taken more pictures of places—my dorms and that part of my life—during college in addition to pictures of other people, each other, etc. When I travel I feel that I capture most of the experience, but those times when I was just hanging out—I tried to appreciate them, but I’m not sure I could have known how really special those were at the time. So I wish I had more pictures of “Flower Couch” (see photo, as we were leaving it behind at school, tears!) that we got from a hotel liquidation sale my first week of freshman year…and the other accoutrements of collegiate life! Christine Meehan and Hannah Jacobson at the 2012 National Arts Policy Round Table (Photo by Fred Hayes)

Christine Meehan and Hannah Jacobson at our 2012 National Arts Policy Roundtable (Photo by Fred Hayes)

We recently launched a new series on ARTSblog that spotlights the staff at Americans for the Arts that I call “Ten Questions with…”, in which I will ask everyone the same questions and see where it takes us.

Last time I interviewed myself as a test case and this time I have turned to Hannah Jacobson who currently serves as Executive Assistant to President and CEO Bob Lynch.

1. Describe your role at Americans for the Arts in 10 words or less.

Writing; editing; calendaring; herding; travel booking; prepping; printing; note taking; pinch hitting

2. What do the arts mean to you?

There has been no time when I wasn’t involved in the arts. There are pictures of me before I can remember next to and posing as Degas sculptures.

I was in my first play at seven, playing a dwarf in The Hobbit, and was in no fewer than six shows per year up until college. This includes Barnum, which led me to my great secret talent: balloon animals. Yes, I still make them.  Read the rest of this entry »

Ron Jones

Ron Jones

In a few weeks, many of us will descend upon Washington, D.C. as part of Arts Advocacy Day.

The agenda is simple and powerful; first, everyone learns the talking points, the compelling arguments, and statistics, and then practices on legislators and/or their staff. We return home knowing we’ve made a positive impression upon those who make decisions that can have significant and long-lasting impact upon the arts in America.

For some of us, that’s it! That’s our contribution to the future of the arts. We return home and pick up our work where we left off, seeing little connection to our day-to-day activities, managing our budgets, developing programs, expanding audiences, and raising money.

Realistically, I suspect most of us would say that we think of our national effort and our local effort as mutually exclusive events with the consequence of each seeing little, if any, relevance to the other.

The fact is that “advocacy” in its broadest sense, is the same as branding. Through whatever efforts and means we select, the goals are the same—to cause others to hold views and find values that are in line with our views and values.

Arts Advocacy Day is only one point along a continuum of efforts that will culminate in moving others toward our view of the world, and the strategies recommended should serve as a blueprint for what we do locally. Read the rest of this entry »

Catherine Starek

Catherine Starek

I have always thought of symphony orchestras, or any large musical ensemble, to function somewhat like clockwork.

As a musician, one quickly realizes that the success of the symphony (e.g. high-quality performance, beautiful tone, expressive phrasing, etc.) is dependent on the sum of its parts. The performance of every individual must be sensitively adjusted to compliment the rest of the ensemble in order to produce one cohesive musical story.

The internal intricacies, typically unseen by its admirers, must be functioning properly and working together in order for the larger system to operate properly.

In the case of a clock, even the grandest, most impressive-looking ones may cease to operate with broken or damaged parts. Similarly, symphony orchestra management can be most effective when all of its departments are working well and moving forward together.

What if we, as nonprofit leaders in the arts, took a systemic approach to orchestra management?

Rather than focusing on issues separately and only when we are forced to deal with them, one might adopt the mindset of always doing what is best to maintain the overall health of the organization in the long runRead the rest of this entry »

What Are “The Arts” Anyway?RSS Feed

Posted by Howard Sherman On February - 22 - 20132 COMMENTS
Howard Sherman

Howard Sherman

Art. The arts. Fine arts. Performing arts. Visual arts. The lively arts. Arts & entertainment. Arts & culture. Culture. High culture. Pop culture.

The preceding phrases are all, on a very macro basis, variations on a theme. However, were you in a research study, and I showed you each of them, one at a time, I daresay they would provoke very distinct associations, very clear delineations of what each encompasses in your mind. Those responses would also likely change depending upon the order in which I showed these to you.

I could also take any two and combine them in a Venn diagram and the overlapping segment would be quite clear. But incorporate a third or fourth and you might find one of these categories the odd man out.

Why do I bring this up?

Because as the “arts community” fights its valiant, essential, and never-ending battle to convince the public at large of the value of “the arts,” I cannot help but wonder whether those on the receiving end of such messaging each hear very different things when these words are presented to them.

I’m prompted to these thoughts by a variety of “real world” examples and experiences, some quite personal. I’m hoping that perhaps someone will want to test my assumptions.

Visit the websites of a few newspapers. The New York Times “Arts” section is a big tent, where theatre, dance, and opera fit in alongside movies, TV, books, and pop music; only on Fridays in the New York edition do they distinguish between performing arts and fine arts, by dividing them into two printed sections.  Read the rest of this entry »

Camille Schenkkan

Camille Schenkkan

Rambling ten-page resumes. Headshots submitted for management positions. Cover letters written in one big, messy paragraph in the body of an email. And one resume that was somehow, inexplicably, saved as a series of stream-of-consciousness bullet points in an .RTF file.

I coordinate the internship program at Los Angeles’ Center Theatre Group (CTG), one of the largest—and most prestigious—theatres in the country. These are just a few of the bizarre, sad, and shockingly common application faux pas I saw in our last application cycle.

Most undergraduates aren’t introduced to career options in arts administration within an academic context. An internship can provide an excellent introduction to the field. Many of the applicants I see are undergraduate theatre or acting majors, curious about career options in the discipline they love.

And many of them are woefully unequipped to apply for any job.

It’s tempting to fault schools for this lack of preparation. However, nearly every two-year and four-year college or university has a career center with free services. I’m also a big fan of personal responsibility.

So hey, arts major. Here are five tips for applying to internships or entry-level jobs in arts management.  Read the rest of this entry »

As stated in the introductory remarks, “philanthropist, activist, and style maven” Kerry Washington is the first African-American woman to serve in a leading role on a network t.v. drama in more than 35 years; however, it’s her tireless advocacy work that garnered our respect and admiration.

An Americans for the Arts Artists Committee member, Washington has been a vocal supporter of the arts and arts education. She has testified before Congress, was presented with our 2009 Leadership in the Arts Award for Artist-Citizen, served as co-chair of Arts Advocacy Day in 2011, and even helped us sell cupcakes in partnership with Sprinkles. But, that’s not all. She has also worked closely with V-Day to prevent violence against women and girls in addition to several other causes.

As she stated while accepting the award, “I consider it an honor to be an advocate for the arts and to serve on President Obama’s Committee on the Arts and the Humanities because just as we must ensure that ‘we the people’ includes all Americans regardless of race, class, gender, and sexual orientation, we must also work to insure that the stories we tell, the movies we make, the television we produce, the theater we stage, the novels we publish…are inclusive in all those same ways.” Read the rest of this entry »

John Legend speaks while receiving a Citizen Artist Award from The United States Conference of Mayors and Americans for the Arts. Also picture are Philadelphia Mayor Micheal Nutter (left), New Orleans Mayor Mitch Landrieu, and Maryland Gov. Martin O'Malley.

John Legend speaks while receiving a Citizen Artist Award from The United States Conference of Mayors and Americans for the Arts. Also picture are Philadelphia Mayor Micheal Nutter (left), New Orleans Mayor Mitch Landrieu, and Maryland Gov. Martin O’Malley.

Musician John Legend said it best while accepting his award last month for Citizen Artist: “Being a mayor is one of the toughest jobs in the country, and one of the most important ones as well. Mayors understand how important the arts are to our cities.”

Last month, I had the honor of presenting awards to Mayors David Coss of Santa Fe and Mitch Landrieu of New Orleans, as well as Maryland Governor Martin O’Malley, for their outstanding leadership in the advancement of the arts.

Each has demonstrated immense dedication to the development of arts programming, and their extraordinary leadership and commitment to cultural initiatives and advancement of the arts showcases the key role the arts play in spurring economic growth while simultaneously enhancing quality of life. These awards are in partnership with the United States Conference of Mayors (USCM), with whom I have had the honor of collaborating for more than 20 years.

While these leaders are among the hundreds, if not thousands, of mayors and scores of governors who understand the economic and emotional value the arts bring to their communities, there are still those elected officials out there who do not understand what a crucial role the arts play in defining and sustaining the health and wealth of local and state economies. As such, we at Americans for the Arts continually work to educate elected officials at all levels as to why the arts matter. Read the rest of this entry »

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