Misrepresenting the NEA

OK., this and this is making me angry. Listen, I am glad that the President has requested more money for the NEA -- not enough, of course, because we are so far behind the eight ball as far as inflation is concerned that we would need to about double the budget to catch up. But let that lay.

What is getting me angry is the presentation of NEA funding as being somehow focused on " small-town arts institutions that support culture for America's rural and suburban populations who, polling data suggests, tend to vote for the people who want to abolish the NEA." This is complete and utter nonsense.

Oh, sure, a couple small towns got some "Our Town" grants, but the lion's share -- indeed, a couple of lion's shares -- goes to the same urban centers and wealthy institutions as always. Narric Rome trumpets, "More than half of these [Our Town] grants were awarded to communities with a population of less than 200,000 and seven went to places with fewer than 25,000 people." But the fact is that 90% of American counties have populations under 200,000 and, in fact, 82% of them have populations under 100,000. I analyzed the "Our Town" grants here and here. Here are a few lowlights: 90% of the grants given went to counties with over 100,000 people in it. In fact, the average population of the counties funded was a bit more than 2.163 million people, and the median population was over 966,000. Of the grants funded, only two (Marfa TX and Sitka AK) could be classified as rural counties.  Further, as I wrote here, an "examination of the percentage of submitted grants that were actually funded in the last round of the Our Town program reveals that proposals from cities with populations over a million had a 100% acceptance rate, whereas those from cities under 100,000 had an acceptance rate of less than 40%."

As far as the argument that Shane Ferro makes as to why red states legislators ought to support the NEA, I made that argument in January 2011 when Rocco Landesman made his "supply and demand" comments at the Arena Stage convening. I said that the reason NEA grants (and other grants) should not be centralized in a few established institutions but rather spread geographically across America is that by not doing it, it makes it easier for those legislators to vote against NEA funding. But you can't make that argument until you have actually used funding fairly and equitably. It may be that the NEA would like to make this claim of geographical diversity -- I hope that is true -- but you can't make it yet. Nothing has changed yet. It is still a big city game.

The Fusing Arts, Culture and Social Change report has thoroughly documented this in the philanthropy field, and have indicated that government funding follows the same pattern. Check out the finalists for "placemaking" grants at the ArtPlace if you want proof. ArtPlace is "an unprecedented private-public collaboration of nine of the nation’s top foundations, eight federal agencies including the National Endowment for the Arts, and six of the nation’s largest banks. ArtPlace supports creative placemaking with grants and loans, research and advocacy." I haven't even had time to look up the populations of each of these places, but it doesn't take a statistical genius to see that most of them are going to large urban areas. I'll highlight the ones that are clearly cities. Maybe Shane Ferro thinks anything that isn't Manhattan is rural and suburban.

City	State	Organization
Homer	AK	Bunnell Street Art Center
Anchorage	AK	Anchorage Museum Association
Juneau	AK	Juneau Housing Trust, Inc.
Savoonga	AK	Native Village of Savoonga
Sitka	AK	Alaska Arts Southeast, Inc.
Anchorage	AK	Alaska Native Heritage Center
Anchorage	AK	Out North Contemporary Art House
Little Rock	AR	The Oxford American Literary Project
Phoenix	AZ	Roosevelt Row Community Development Corporation
Los Angeles	CA	The New School
Various	CA	Creative Work Fund/Walter and Elise Haas Fund
Yolo County	CA	Yolo County Arts Council dba YoloArts
San Jose	CA	MACLA/Movimiento de Arte y Cultura Latino Americana
San Francisco	CA	San Francisco Planning and Urban Research Association
San Jose	CA	San Jose Public Art
Fresno	CA	Fresno Arts Council
Long Beach	CA	Khmer Arts Academy
Long Beach	CA	Arts Council for Long Beach
Los Angeles	CA	City of Los Angeles Department of Cultural Affairs
Los Angeles	CA	Cornerstone Theater Company
Los Angeles	CA	Esperanza Community Housing Corporation
Los Angeles	CA	Los Angeles Philharmonic Association
Los Angeles	CA	Machine Project
Los Angeles	CA	MASS Design Group
Los Angeles	CA	Performing Arts Center of Los Angeles County
Los Angeles	CA	Southern California Institute of Architecture (SCI-Arc)
Modesto	CA	California State University, Stanislaus College of the Arts
Oakland	CA	City of Oakland Cultural Arts & Marketing
Riverside	CA	City of Riverside – Development Department
San Francisco	CA	Burning Man Project
San Francisco	CA	envelope Architecture + Design (envelope a+d)
Stockton	CA	University of the Pacific
Visalia	CA	Visalia Arts Consortium (Arts Consortium)
Manitou Springs	CO	Business of Art Center
New Haven	CT	Arts Council of Greater New Haven
New Haven	CT	New Haven International Festival of Arts & Ideas, Inc.
Washington	DC	Woolly Mammoth Theatre Company
Miami	FL	Wynwood Arts District Association, Inc.
Miami	FL	Bass Museum of Art
Miami	FL	Miami Light Project, Inc.
Jacksonville	FL	City of Jacksonville Planning and Development Department
Sumerville	GA	Chattooga County, Georgia
Macon	GA	The Corporation of Mercer University
Boise	ID	Trey McIntyre Project
Chicago	IL	6018NORTH
Chicago	IL	Hubbard Street Dance Chicago
Chicago	IL	Redmoon Theater
Chicago	IL	Steppenwolf Theatre Company
Peoria	IL	Tri-County Regional Planning Commission
Chicago	IL	University of Chicago
Indianapolis	IN	Harrison Center for the Arts
Indianapolis	IN	Indianapolis Museum of Contemporary Art (iMOCA)
Whitesburg	KY	Appalshop, Incorporated
Cumberland	KY	Higher Ground Coalition/The Appalachian Program at Southeast Kentucky Community & Technical College
New Orleans	LA	Artspace
New Orleans	LA	New Orleans Jazz & Heritage Festival and Foundation, Inc.
New Orleans	LA	St. Claude Main Street, Inc. (SCMS) and CivicCenter
Shreveport	LA	Shreveport Regional Arts Council (SRAC)
Dorchester	MA	The Boston Foundation
Mount Rainier	MD	Joe’s Movement Emporium
Baltimore	MD	Baltimore Symphony Orchestra (BSO)
Indian Island	ME	Maine Indian Basketmakers Alliance (MIBA)
Eastport	ME	Tides Institute & Museum of Art
Detroit	MI	ArtsCorpsDetroit
Various	MI	ArtServe Michigan
Flint	MI	Flint Public Art Project
Detroit	MI	Lincoln Street Art Park
Detroit	MI	Marygrove College and Detroit Economic Growth Corporation
Hamtramck	MI	Power House Productions
Detroit	MI	Detroit Institute of Arts
Detroit	MI	Detroit Creative Corridor Center
Various	MN	American Composers Forum
Lanesboro	MN	Lanesboro Arts Center
St. Paul	MN	Ethnic Cultural Tourism Destinations Collaborative (ECTD)
St. Paul	MN	Ordway Center for the Performing Arts:
St. Paul	MN	Forecast Public Art
Minneapolis	MN	Intermedia Arts
Minneapolis	MN	Juxtapostion Arts
Wadena	MN	New York Mills Regional Cultural Center
Minneapolis	MN	Pangea World Theater
Minneapolis	MN	Pillsbury House + Theatre (PH+T)
St. Paul	MN	Public Art Saint Paul
Minneapolis	MN	The Cedar Cultural Center, Inc
Minneapolis	MN	The Gymnasium
Minneapolis	MN	World Savvy
Minneapolis	MN	Native American Community Development Institute
Chatham, Lee Pitt Counties	NC	Regional Technology Strategies, Inc. (RTS) and Public Art Collaborative Art-Force Program
Minot	ND	Artspace
Reno	NV	Nevada Museum of Art
Syracuse	NY	Near West Side Initiative Inc.
Poughkeepsie	NY	PAUSE
New York	NY	Broadway Housing Communities
New York	NY	NOCD-NY (Naturally Occurring Cultural District Working Group)
New York	NY	Northern Manhattan Arts Alliance, Inc. (NoMAA)
Brooklyn	NY	Pratt Institute
Bronx	NY	Women’s Housing and Economic Development Corporation
Bronx	NY	Casita Maria Center for Arts and Eduction
Brooklyn	NY	El Puente
Brooklyn	NY	Museum of Contemporary African Diasporan Arts (MoCADA)
Bronx	NY	Pregones Theater
Brooklyn	NY	St. Ann’s Warehouse
New York	NY	Storefront for Art and Architecture
Brooklyn	NY	STREB Inc.
Cincinnati	OH	American Sign Museum
Cleveland	OH	Northeast Shores Development Corporation
Philadelphia	PA	Asian Arts Initiative
Philadelphia	PA	City of Philadelphia Office of Arts, Culture and the Creative Economy
Philadelphia	PA	Community Design Collaborative
Philadelphia	PA	Philadelphia Mural Arts Program
Philadelphia	PA	University City District
Providence	RI	Community MusicWorks (CMW)
Providence	RI	WaterFire Providence
Pine Ridge	SD	The Heritage Center at Red Cloud Indian School
Memphis	TN	Memphis Symphony Orchestra, Inc. (MSO)
Chattanooga	TN	Glass House Collective
Memphis	TN	Ballet Memphis
Memphis	TN	Community L.I.F.T. / Memphis Music Magnet
Austin	TX	Big Medium
Austin	TX	Downtown Austin Alliance (Downtown Development Corporation)
Austin	TX	The Trail Foundation
Houston	TX	Houston Grand Opera Association, Inc.
Seattle	WA	Wing Luke Museum of the Asian Pacific American Experience
Mineral Point	WI	Shake Rag Alley Center for the Arts
Sauk County	WI	Wormfarm Institute

I think the NEA ought to get more funding -- but not until it starts distributing it in a way that is focused on diversity of all kinds, including geographic diversity. I'd even go further: it is time for reparations, for making up for the decades in which the rural areas have been virtually ignored. But it certainly isn't time for people like Ferro and Rome to be taking credit for something that hasn't occurred yet.

More Advice from Schumacher

From Good Work (p 205):

In the question periods after his talks, Schumacher would invariably get asked by someone in the audience, "But what can I do?" His simple answer was "Do three things, one after the other, one leading into the other. Inform yourself. Support others who are already at work. Initiate when you can and how you can." And he said something else: "Start where you are. But start. Don't wait for the perfect situation.

Slogan

Being creative is better than buying creative.

We

I am reading an anthology of speeches made by E. F. Schumacher which were gathered together under the title Good Work. He writes:

One of the greatest confusions, in most discussions, is the term "we." You know, people say, we ought to decentralize General Motors. I look at them -- I couldn't decentralize the drugstore on the corner! Or we really ought to change human nature -- they couldn't even change their own nature! When I say "we" I am asking what can actual people, small as they are, what can they do?
If you look at it this way, you find if one could make visible the possibility of alternatives, viable alternatives, make a viable future already visible in the present, no matter on how small a scale...then at least there is something, and if that something fits, it will be taken. Suddenly there will be demand. (emphasis mine)

This idea of making alternatives visible seems powerful to me. It points a direction, at least for me. My project in Bakersville will be, I hope, one "viable alternative," one that needs to be made visible in a variety of ways. But there are other alternatives as well, that aren't made visible, or made visible broadly enough so that people who aren't being served by the current system can find it and see whether it fits.
I look at arts organizations like Stage North in Washburn WI or the Northern Lakes Center for the Arts in Amery WI and I feel that they need to be made more widely visible as an alternative.
Such an ongoing project seems perfect for CRADLE. So if you know of arts organizations in small and rural communities that you feel exemplify the possibility of a viable alternative that is rooted in place, sustainable, and participatory, please tell me about it in the comments, or email me at walt828 at gmail.com

Kushner and Schumacher on Education

Fifteen years ago, Tony Kushner delivered the keynote address to the assembled college theatre professors of the US at the Association for Theatre in Higher Education (ATHE) convention. His speech was printed in January 1998 in American Theatre magazine (back when they thought that opinion pieces had a place in their magazine, especially if they were provocative

opinion pieces). I urge you to read the whole essay; I'm rereading it today. And while I'm tempted to quote the whole damn thing, because the whole damn thing needs to be heard not only by the theatrical professoriat but by the artists as well, I will confine myself to just one paragraph, which reads as follows:

Just as the attack on public elementary and secondary education, in the form of the school voucher, and the attack on affirmative action are intended to defeat what's left of the African-American civil rights movement, and the slow whittling away at reproductive rights is intended to defeat what's left of the women's movement, and the Defense of Marriage Act and 36 anti-rights initiatives at the state level are intended to defeat what's left of the lesbian-and-gay-rights movement--and in every instance there's a great deal left--the transmogrification of liberal artseducation into vocational training is, I think, intended to destroy any possibility of a troublesome,restive student population. Not intended as in someone on the National Security Council sat around and planned it (though remembering Cointelpro and Iran-Contra, I wouldn't want to bet a lot of money that hasn't happened), but largely this lamentable state of affairs has come to pass through what Althusser calls "Ideological State Apparatuses." The fact that many of your students wouldn't know what an Ideological State Apparatus is, or what ideology means, and the fact that this general incomprehension is a rather recent development, is precisely what I am talking about. We are being dumbed down. We are being trained, but not trained to think; we are becoming more efficient, by which I mean more exploitable and cooperative laborers, but we are becoming less smart than we can afford to be. Too much action, too little thought: It's not just the formula for an Arnold Schwarzenegger summer blockbuster; it's the formula for what we used to call surplus labor, and for the lumpen-proletariat, before we all forgot what words like that meant....The vocationalization of the liberal arts undergraduate education echoes the loss in the world at large of interest in the grand dialectic of life, in all dialectics, in breadth, in depth, in thinking as a necessary luxury, in the Utopian. The vocationalization of undergraduate education is, I think, akin to all sorts of social malaises, all of which commenced or burgeoned simultaneously with the death of Utopia as a place about which serious adults devote serious thought; and its replacement by corporate-sponsored Never-Never Land, a place in the name of which Peter Pans and Inner Children, instead of reading, devote serious shopping time.

When you've read Kushner's essay, then get a copy of E. F. Schumacher's Small Is Beautiful and read the chapter entitled "The Greatest Resource -- Education." A quote: "know-how is nothing by itself; it is a means without an end, a mere potentiality, an unfinished sentence. 'Know-how' is no more a culture than a piano is music. Can education help us to finish the sentence, to turn the potentiality into a reality to the benefit of man? To do so, the task of education would be, first and foremost, the transmission of ideas of value, of what to do with our lives."

Then read "Buddhist Economics" and think about what Schumacher describes as the Buddhist attitude toward the purpose of work and the arrangement of an economy. Apply to the arts.

Read. Think. Apply, Reflect.

NYLACHI Wins Again!

Congratulations, Giants fans!