Wednesday, May 27, 2009
Case Study: The Amish Project
Tuesday, May 26, 2009
When Audiences Become Creditors
Theater Task Force of Community Board Five in Manhattan
WHEREAS: Arts and Entertainment is one of the largest industries in New York City with the economic impact of non-profit estimated to be $5.8 Billion and 40,460 jobs (NY Alliance for the Arts, 2005);
WHEREAS: Small to mid sized theaters and other arts organizations are an integral part of the Arts & Entertainment industry: A) as an entry point for actors, playwrights, and other artists, B) for the expression and exploration of the diverse culture of New York City communities, C) sites of creativity, experimentation and innovation, D) jobs;
WHEREAS: Small to mid sized theaters and other arts venues are a closely tied to their local neighborhood small businesses, for instance one theater in CB3 had 70 restaurants contribute food to a recent festival;
WHEREAS: Small to mid sized theaters and other arts venues are economic drivers of local neighborhoods, and are a crucial to the cultural and economic resilience and diversity of our neighborhoods;
WHEREAS: A cyclical economic downturn is the TIME TO INVEST in our neighborhood economic drivers and NOT TO DISINVEST in local economic drivers;
WHEREAS: The proposed disinvestment by the City and the State in community based arts may have an adverse multiplier effect on the small businesses and neighborhoods that they are based;
WHEREAS: Foundation funding and government funding are down by 20-40 percent, yet small to mid sized theaters and other non profit arts venues have fixed real estate costs;
WHEREAS: Government funders recommendations to small to mid sized theaters and other arts organizations to cut back on programming in this time of crisis will not work, as programming constituted the revenue for fixed costs and employment;
WHEREAS: Community Board Five's smaller theaters have been an historic incubator for talent and product that eventually play the neighboring Broadway theaters;
WHEREAS: Our area (CB5, CB4, CB2) has recently lost 25-30 percent of their small to mid sized theaters in the last five years predominantly due to real estate competition (New York Theatre Innovative Theatre Awards study, Dec 08);
WHEREAS: Community Board Five remains the most active, viable center for theater and performing arts;
WHEREAS: There exists innovative policies (land use, tax, public buildings) to sustain and retain theater and other performance venues that other cities and states have successfully used;
WHEREAS: The New York State Assembly member O’Donnell, and NYC Council member Alan Gerson’s office are proposing bills to create a property tax abatement for commercial landlords that rent to non-profit cultural groups;
WHEREAS: The recent joint Community Board Forum on small to mid sized theaters was well attended with extensive expert and public testimony on the loss of theater and arts venues, the importance of theater and arts venues for local communities, and the severe financial crisis hitting small to mid sized theater.
THEREFORE IT BE RESOLVED: Community Board Five calls on its elected officials to acknowledge small to mid sized theaters and other arts organizations to be crucial to the cultural and economic resilience and diversity of our neighborhoods, to recognize the arts as economic drivers and integral to local small neighborhood businesses;
THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected officials to develop and adopt land use, tax and other governmental incentives and policies to retain and secure theater and other arts and cultural venue spaces and to retain arts and cultural organizations in our district and the City of New York.
THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected officials, and the Governor, to act in order to restore the 100 percent funding cut from remaining funds of the New York State Council of the Arts (NYSCA) for Fiscal Year 2009, to restore NYSCA funding to sustainable levels in Fiscal Year 2010, and not to discriminate against small to mid-sized theaters and arts organizations.
THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected representatives of Congress to include small to mid-sized theaters and other arts organizations in job retention and economic stimulus funding, and not to discriminate against the arts and non-profits in urban stabilization, job retention, and other funding and policies assisting other small businesses.
Dear Mayor Bloomberg and Members of the New York City Council,
As we know from the NYC Department of Education’s own assessments, the City’s public schools are not meeting state requirements for arts education. Hundreds of thousands of New York City public school students do not have access to arts education – visual arts, music, dance, theater - in their classrooms, despite state law requiring a specific number of hours in arts be taught throughout a K-12 education. In fact, according to the NYC DOE, nearly 30% of schools have no certified arts teacher on staff, less than half of middle school students are provided with the minimum state arts requirements, and only 8% of elementary schools are even in the position to meet minimum state requirements in the arts. The elimination of Project ARTS – an initiative that secured a minimum level of arts education through dedicated funding making possible essentials like art supplies, hiring art teachers and valuable partnerships with cultural organizations– has made a bad situation a dire one.
National studies show that the arts not only motivate kids to learn more; they also keep youth in school and graduating on time. Unfortunately, data provided by the NYC Department of Education shows that schools with the most low-income students offer the least arts education. As new, stricter graduation requirements are being implemented, it is imperative that all students receive at least the arts education they are guaranteed by law bolstering their chances of graduation. Without the guarantee of dedicated funding for arts education, the opportunity gap will only continue to widen.
Regardless of changes in elected leadership, school governance or the
economy, we must have a structure in place to guarantee that all children can meet minimum standards for arts in the schools.
To that end, we are urging you and the City Council to create a dedicated funding line for arts education – an essential step in ensuring every child receive a quality education that includes the arts.
Sincerely,
Richard Kessler, The Center for Arts Education
Michael Mulgrew, United Federation of Teachers
Billy Easton, The Alliance for Quality Education
Don Fann, Learning Disabilities Association of New York City
Kim Sweet, Advocates for Children
Associated Musicians of Greater New York, Local 802 AFM
Chung-Wha Hong, New York Immigration Coalition
Cynthia Nixon, Actress, Public School Advocate
Jennifer March-Joly, Citizens’ Committee for Children
Jonathan Hollander, Battery Dance Company
Sondra Forsyth, Ballet Ambassadors
Kathleen A. Christie, Brooklyn Arts Council Arts in Education
Kyra Sedgwick, Actor
Claire Yeoman, Children’s Museum of the Arts
Barbara Fisher and Richard Spiegel, Ten Penny Players
Idina Menzel, Actor
Marisa Suescun, Coro New York Leadership Center
Dorothy Savitch, Brooklyn-Queens Conservatory of Music
Theodore Wiprud, New York Philharmonic
Julianna Margulies, Actor
Janine Nina Trevens, TADA! Youth Theater
Elizabeth Halverstam, Arts Horizons
Hjördis Linn-Blanford, American Tap Dance Foundation
Caryne Hayes, Careers Through Culinary Arts Program
Hazel A. Younger, Community Board 16, Brooklyn
Phyllis Cohn, Music for Many, Inc.
Kyra Popiel, The Town Hall
Karina Collado, Riverdale Neighborhood House
Diane Wilson, Community Board 9, Manhattan
Theresa Scavo, Community Board 15, Brooklyn
Peter Nicholas Trump, The Town Hall Foundation
Laura McManus, Museum of Biblical Art
Susan Goldbetter, Circuit Productions, Inc.
Tara Sansone, Socrates Sculpture Park
Joanne Bernstein-Cohen, The Little Orchestra Society
Young Playwrights, Inc.
Susan Fenley, Sundog Theatre
Nellie Perera, Henry Street Settlement
Joanne Zipay, Judith Shakespeare Company NYC
Andrea Crawford, Community Board 9, Queens
Annette Esposito, Community Board 2, Staten Island
David Siesko, Community Board 5, Manhattan
Julie's Notes: Richard Florida's "Rise of the Creative Class" -- Part 1
The Case for Manual (rather than "Creative") Labor
Monday, May 25, 2009
TYA Company Leverages Word of Mouth
A New Model for Community Arts Support
Rocketing Through Hard Times in Austin
Effects in Boston
Kaiser on the Bailout for Arts
Michael Kaiser / Kennedy Center's Arts in Crisis Initiative
Friday, May 22, 2009
Bridge Project
Theatre Talk radio story about The Bridge Project
Re-imagining Dead Commercial Space
The Imagination Economy
The Flexibility of Smaller Companies
Artists and Obama: Studio 360
Big Post of Mike Daisey Stuffs
Full Text:COPYRIGHT 2008 Nielsen Business Media, Inc.
A little over three months ago, President Bush signed the Consolidated Appropriations Act of 2008, authorizing a $20.1 million funding increase for the National Endowment for the Arts, bringing its budget to $144.7 million--its highest level since 1995. Not that a lame-duck chief executive would pander to artists to bolster his political fortunes, but the increase did earn Bush some upbeat press. Since studies have shown that every dollar of federal, state, and local arts appropriations has a measurable economic impact on communities, the nonprofit world--including regional theatres--rightly rejoiced.
But a funny thing happened on the way to fiscal nirvana. In the mainstream press and in the blogosphere, the mood has turned sour. Monologist Mike Daisey, for example, recently published an essay in The Stranger, the Seattle alt-weekly, called "The Empty Spaces: Or, How Theater Failed America." He argues that nonprofit theatres have become too corporate, too top-heavy with administrators and nonartistic personnel. Worse, he says, their mission has morphed into a risk-averse hash of the original intention of the regional theatre movement: "to house repertory companies of artists, giving them job security, an honorable wage, and health insurance." Blame the "increasingly complex corporate infrastructure" of these organizations, Daisey declares; blame the expanding marketing and fundraising teams that raise "millions of dollars from audiences that are growing smaller, older, and wealthier." Frankly, these assessments seem reductive: There's no founding document stipulating that all nonprofit theatres must be repertory companies, nor is there conclusive proof that young companies aren't being formed every day, drawing in young audiences and young (or younger) donors. What's salient about Daisey's essay, however, is the growing sense that artists are increasingly becoming an afterthought in a business model that too often prioritizes the corporate over the creative.
Here's an example of what we mean. Referring to Daisey's essay, a recent New York Times feature noted that while theatres such as the Guthrie in Minneapolis; Arena Stage and the Shakespeare Theatre Company in Washington, D.C.; the Signature Theatre in Virginia; and Berkeley Repertory Theatre in California have raised tens of millions of dollars to build new homes, politicians don't see these projects as artist-centered but as forms of urban renewal popular with their constituents. For high-level donors, the projects are seen more as a way to affix their names to buildings than to provide havens for artists. Is there something wrong when millions of dollars are raised and spent on building projects while artists remain largely underpaid and underemployed?
Yes, this is an old squall: No artist or staffer ever feels adequately compensated for his or her work. Speaking of which, on the listserv of Dramaturgy.net, the literary manager of a major regional theatre and an Off-Off-Broadway director have been mixing it up on the topic of internships at regional theatres. While no one expects the rare internship stipend to pay the rent, the debate is about ethics: Is it right for regional theatres to rely on cheap labor when top administrators (i.e., artistic and managing directors) often earn six-figure salaries? Indeed, was the nonprofit business model meant to make people rich?
Daisey's solution is a wholesale reevaluation of the regional theatre system. Others--noting the recent bankruptcy filing of Buffalo's Studio Arena Theatre--believe some retrenchment is in order and that we should lobby for more public and private arts funding. Truthfully, all these ideas have merit. We ask industry leadership organizations, such as Theatre Communications Group, to consider Daisey's criticism seriously; perhaps they could convene a special conference to address whether administrators receive outsized shares of the funding pie, thus dewing theatre artists appropriate compensation. Daisey also notes that regional theatres too often import actors from New York. That too should be a prominent part of the agenda.
Yet we also call on everyone to sell the public on giving generously to your local regional theatre. The American theatre community is depending on it.
For Editorial submissions: c/o Back Stage West 5055 Wilshire Blvd. Los Angeles, CA 90036 email: bswedditorial@backstage.com
Source Citation:"The sweet and sour smell of regional theatre success.(Our View)." Back Stage West 15.14 (April 3, 2008): 7(1). General OneFile. Gale. Boston Public Library. 22 May 2009
Jack Reuler of Mixed Blood Theatre
Thursday, May 21, 2009
Monroe Journal's "Promises and Perils of the Art Industry"
Florida's creative class homepage
Wednesday, May 20, 2009
More Fractured Atlas
Refuting Florida
Baseball Analogy
Scott Walters' Theatre Ideas
Ravenhill takes on $$
TCG's Theatre Facts 2007
Some Older Materials
The NYT Addresses the Issue
It begins...
The On Point episode.
The article from the Atlantic.
An interview with Florida from the same issue of the Atlantic here, and a multimedia feature here.
And finally, a visual aid of Florida's theories from the graphic design firm Alphachimp Studio and their PopTech program.