A few weeks ago I was on Vermont Public Radio talking about the state of the arts. I was joined by a couple of other guests--among them poet/writer David Budbill. The first question the host asked was Why do we need artists?
Indeed.
In my experience, when someone asks a question like that, what she really wants to know is Why do artists deserve our support? Even more specifically, Why should artists get cash money from the government? This is a seriously loaded question, and I thought of several ways of responding all of which, I realized in the space of about a second, would sound a little disingenuous coming from me.
The fact is, I'm not entirely sure that I agree with the implication behind the question--that artists, simply because they are artists, deserve compensation from the government. I've worked in many parts of the arts sector in my career, and I've never met a single artist who, because he or she didn't get a government grant (or any other kind of grant, for that matter), stopped "being an artist."
Face it, as successful as some applicants appear to be in getting grants, no one is going to live on a diet of cash from government agencies and foundations. Even if you win a $500,000 MacArthur Fellowship (the "genius" grant), and are smart enough to invest it all in tax-free munis that throw off at least 5% per year, you're only going to earn $25,000 per year. In that case, God help you if you have a family or a car to feed.
Furthermore, if the paucity of grants doesn't get to you, the anger and depression that usually come with rejection probably will. It is awful to be turned down for a grant. Ironically, I know dozens of artists who have applied for and been denied funding from public agencies and (maybe as a result of this rejection) gone on to fantastic careers as artists anyway. I now call this phenomenon the "Jennifer Hudson Syndrome" for the American Idol runner-up who after losing the competition in that show's third season, went on to win an Oscar (and 23 other awards) for her portrayal of Effie White in Dreamgirls. Take that, Simon Cowell!
Sharing their "JHS moment" is one of the many things that people meeting me years after being denied a grant from us like to tell me about. Of course there is a significantly greater number of people who have told me about how getting a grant provided just the additional boost their careers needed...so I know that for the most part our money is well spent even if it isn't spent on everyone who wants it!
But when asked Why do we need artists? on VPR I let David Budbill answer. After all, HE's the artist, not me.
"Because they tell the truth" he said.
David's simple, unprepared, five-word response was just...perfect. And in its perfection his answer provided all the proof I need that supporting artists is of great societal value. Put in the form of an equation it looks like this:
Artists = Truth; Truth = Value; Artists = Value
Listening, as I sometimes do, to a lot of other programs on the radio lately, there seems to have been precious little truth-telling going on in our country during the past several years...the results of which (low US prestige abroad, failing diplomatic efforts, failing economy, failing education system, failing health care system, failing public transportation infrastructure, and failing environment) are being felt now by us all as a failure of our values.
Next time you have the chance, buy some art. We'll all be better off as a result.
Wednesday, July 16, 2008
Wednesday, July 2, 2008
HAPPY NEW YEAR
Like the rest of state government, The Vermont Arts Council’s fiscal year starts July 1 and in just a few days I will be out on the State House Lawn with 15,000 of my closest friends celebrating the new year and July 4th weekend.
Only I’m kind of wondering what’s to celebrate…
The news is generally not good. The state is laying off people, so is IBM. The Red Sox are firmly in second place behind the Tampa Bay Rays. The Mountaineers are barely one game over 500, the Ravens have yet to win a game. There are floods all along the Mississippi and bad fires in the southwest. (I’m waiting for reports of pestilence or a plague of locusts before I start rereading my King James Bible.) Algae is doing its thing in the Lake, as is Red Tide off the Maine coast, and green algae off the coast of China where the Olympic sailing venue is.
Vermont last week issued its first-ever Amber Alert. Oil is trading over $140/barrel; gas is well over $4.00 a gallon; and I can “lock in” at a possible $4.89/gallon for my heating oil. I’ve just purchased “green” firewood for $225 a cord (and been told it’s a deal!). A perfectly ripe melon from Shaws just set me back $5.00; they have no more vegetable seeds at Agway so my two pole bean plants that managed to survive a recent attack by a couple of deer have all six poles to choose from in my vegetable garden.
There is just not a lot to celebrate.
Well okay, there’s Andrew Wheating who just became the first Vermonter to ever make the US Olympic Track and Field team. That’s pretty cool. And later this week I head north with my son Flynn to attend the Quebec 400 celebration, part of which will feature not only the Lois McLure but a sampling of some of New England’s finest folk and traditional artists playing the “Grande Place” at Espace 400 in the heart of Quebec City’s old port. That will be a once-in-a-centennial celebration, for sure.
Now that I think about it, and taking a quick scan through the voluminous Summer Arts Guide that Jim Lowe and the Times Argus folks put out about a month ago, there is a LOT to celebrate—or at least to celebrate with. Beyond the usual big name activities (Trapp Family Lodge concerts, Shelburne Farms, Mozart Festival, Marlboro Festival, Weston Playhouse, etc.) there are a host of more intimate things to celebrate: the Adamant Music School and Concert Series, Quarry Works Theater and Unadilla Theater, Music at Guilford, and—even more “local” than these—your basic weekend farmer’s market featuring street performers and works by local artisans.
Most of these events may be found on the Vermont Arts Calendar if you happen to have misplaced your Summer Arts Guide.
But even beyond all that, there are a few things I like to do that for me, celebrate the summer New Year in a way that can only happen in Vermont.
Shakespeare’s The Comedy of Errors performed in Knight Point State Park up in North Hero is one.
Circus Smirkus’s summer extravaganza is another (I see it in Montpelier but it tours the state).
And of course, the various “Art Fits” events that local communities have dreamed up all over the state is still another.
Okay, there may not be too many reasons to celebrate. But once you’ve decided you DO want to celebrate, you have options…lots of options. Best of all, a lot of those options won’t cost you a lot of money to get to from where you live. They are all over the state.
So, even with gas at $4/gallon, go ahead, celebrate the New Year.
And if you’re a visual artist, watch Artmail for a pretty amazing new commissioning project we are announcing…and celebrate some more.
Only I’m kind of wondering what’s to celebrate…
The news is generally not good. The state is laying off people, so is IBM. The Red Sox are firmly in second place behind the Tampa Bay Rays. The Mountaineers are barely one game over 500, the Ravens have yet to win a game. There are floods all along the Mississippi and bad fires in the southwest. (I’m waiting for reports of pestilence or a plague of locusts before I start rereading my King James Bible.) Algae is doing its thing in the Lake, as is Red Tide off the Maine coast, and green algae off the coast of China where the Olympic sailing venue is.
Vermont last week issued its first-ever Amber Alert. Oil is trading over $140/barrel; gas is well over $4.00 a gallon; and I can “lock in” at a possible $4.89/gallon for my heating oil. I’ve just purchased “green” firewood for $225 a cord (and been told it’s a deal!). A perfectly ripe melon from Shaws just set me back $5.00; they have no more vegetable seeds at Agway so my two pole bean plants that managed to survive a recent attack by a couple of deer have all six poles to choose from in my vegetable garden.
There is just not a lot to celebrate.
Well okay, there’s Andrew Wheating who just became the first Vermonter to ever make the US Olympic Track and Field team. That’s pretty cool. And later this week I head north with my son Flynn to attend the Quebec 400 celebration, part of which will feature not only the Lois McLure but a sampling of some of New England’s finest folk and traditional artists playing the “Grande Place” at Espace 400 in the heart of Quebec City’s old port. That will be a once-in-a-centennial celebration, for sure.
Now that I think about it, and taking a quick scan through the voluminous Summer Arts Guide that Jim Lowe and the Times Argus folks put out about a month ago, there is a LOT to celebrate—or at least to celebrate with. Beyond the usual big name activities (Trapp Family Lodge concerts, Shelburne Farms, Mozart Festival, Marlboro Festival, Weston Playhouse, etc.) there are a host of more intimate things to celebrate: the Adamant Music School and Concert Series, Quarry Works Theater and Unadilla Theater, Music at Guilford, and—even more “local” than these—your basic weekend farmer’s market featuring street performers and works by local artisans.
Most of these events may be found on the Vermont Arts Calendar if you happen to have misplaced your Summer Arts Guide.
But even beyond all that, there are a few things I like to do that for me, celebrate the summer New Year in a way that can only happen in Vermont.
Shakespeare’s The Comedy of Errors performed in Knight Point State Park up in North Hero is one.
Circus Smirkus’s summer extravaganza is another (I see it in Montpelier but it tours the state).
And of course, the various “Art Fits” events that local communities have dreamed up all over the state is still another.
Okay, there may not be too many reasons to celebrate. But once you’ve decided you DO want to celebrate, you have options…lots of options. Best of all, a lot of those options won’t cost you a lot of money to get to from where you live. They are all over the state.
So, even with gas at $4/gallon, go ahead, celebrate the New Year.
And if you’re a visual artist, watch Artmail for a pretty amazing new commissioning project we are announcing…and celebrate some more.
Thursday, June 19, 2008
CLEANING THE BASEMENT
Like many people I know, I do my most productive thinking while attending to menial tasks like driving, walking the dogs, or mowing the lawn. The tenor of my thoughts tends to reflect the type of disengaged activity I am doing at the time. My most ambitious thoughts occur when I am mowing the lawn and, with each pass of the mower, my mind expands in orderly progressions until I have cleaned up and straightened out all the problems of the world.
I tend to think about how to improve community life in Vermont when I walk the dogs. Hubbard Park is a beautiful setting, my dogs bound freely through the woods and greet each newcomer as old friends, and without any effort, my mind starts to ponder how the arts might continue to build that intangible thing called “social capital.”
It should come as no surprise then, that as I attacked my moldy basement with rubber gloves, plastic bags, a respirator, and some bleach, my thoughts turned to an increasingly dark and depressing place: the state of the arts in Vermont. Or more accurately, the state of the arts sector.
The arts themselves, if you ask the average guy in the street, appear to be flourishing. A lot is happening all over the state, from world-class music festivals to folk-based arts, crafts and food fairs, to exhibitions and local farmers markets, and history expos and historical reenactments, all of which feature some aspect of Vermont's prodigious creative output. We're ranked 4th in the nation in per capita amount of artists living in the state, and 1st in the nation for writers living here.
But the sector itself, particularly the organizations that are responsible for curating, presenting, preserving, and sustaining Vermont's artistic and cultural legacy are more fragile than ever.
This is a subject that many people, including me, have written about in the past. Baumol and Bowen in the mid 1960s were among the first economists to articulate the theory behind the inevitable decline in arts organizations due to their overwhelming reliance on human labor, the cost of which, over time, would geometrically out-pace an organization's arithmetic income-producing capacity. They forecast an inevitable "Malthus/Keynes v. Arts Organization Tag-Team Smackdown on Pay-Per-Vue" only we didn't really want to believe it. Well, start believing.
In case I haven't been this clear before: the sector is due for a shake-up—which may not be a bad thing. Ours is a mature field with many mature organizations (generally considered to be organizations that are at least 25 years old ). In the for-profit sector, where maximizing corporate profits rules decision-making, industry shake-ups occur regularly, if not frequently. Whole industries have been established to support this relentless drive towards economic efficiency and profitability. “Mergers and Acquisitions” are a subset of the banking and legal sectors. Bankruptcy is a great tool for capitalists, ensuring that the weak are culled from the herd as painlessly and efficiently as possible.
But in the not-for-profit sector, where virtually all organizations are mission-driven, and the profit motive is secondary (or in some unbelievable cases, nonexistent!), M&A and bankruptcy are incomprehensible alternatives. Why? If you peel away all the motivating factors it comes down to two things. First, boards and executives of not-for-profits (the former of which are almost always volunteers) don't want to be part of what many of their peers will consider a “failure”--the dismantling or reorganization of a charitable organization. Second, there are almost always a few very vocal community-members that, when their favorite charitable organization is threatened, reach into the deepest part of their hearts and rally just enough support to avert an immediate melt-down. Organizations who have, perhaps, outlived their original mission purpose, or that are so inefficiently managed that they are unsustainable, are thus allowed to survive for yet another year, operating at reduced capacity, with an ever-increasing bank of “ill-will” from suppliers, vendors, creditors and, yes, upstart competitors with newer, more efficient ideas.
If I'm right (and remember, I'm cleaning my basement here), how do we deal with this?
First and foremost, we have to change our mindset: We have to be PROFITABLE!!!
We have to re-examine our business model. We have to do a SWOT analysis to determine who the competition is and who our potential collaborators are. We have to get comfortable with adopting many of the practices of the for-profit sector in terms of devoting a significant percentage of our operating budgets to marketing and promoting our products and services. A quick scan a few years ago revealed that only a few organizations spend more than 15% on this expense, and most spend 5% or less. Why? Because "every extra dollar must go to program" --a phrase which has to be excised from our policy mind-sets.
Boards have to think of the resignation of an executive as an opportunity not just to stop and do a massive, national search for his or her replacement, but to consider—CONSIDER—reaching out to the arts organization up the road to see if it might be a good time to think about merging your two operations together.
We have to stop letting our administrators excuse or explain away a bad year by saying “but that's how we've always operated. This year it just didn't work!” We have to insist on professional development for managers so that at the very least, they can understand what their own financial statements are telling them about the health of their operations.
A colleague of mine in another part of the country had to tell a constituent why his operating grant had been severely reduced. In his first year as the director, the constituent had racked up a $500,000 deficit. To his credit, he had changed his management plan and for the subsequent four years, he had run a small, but positive annual fund balance (profit). To his own thinking, the director had a 4-1 record, four profitable years, and one (VERY) unprofitable year, and he couldn't understand why the grant review panel had cut his grant so much.
My colleague had to explain to him that his metaphor was wrong. His record wasn't 4-1. He was still in the same ballgame in which he had gotten behind by 500,000 runs in the first inning. At the top of the sixth inning the score was still 500,000 to 12,000. No for-profit would have carried that kind of deficit for that amount of time, and it was clear to the review panel, that this condition was severely cramping the organization's ability to fulfill its mission.
That's the mindset we need to be adopting.
And speaking of mindsets, I can't wait to be done with my basement and get back to walking my dogs and mowing the lawn.
I tend to think about how to improve community life in Vermont when I walk the dogs. Hubbard Park is a beautiful setting, my dogs bound freely through the woods and greet each newcomer as old friends, and without any effort, my mind starts to ponder how the arts might continue to build that intangible thing called “social capital.”
It should come as no surprise then, that as I attacked my moldy basement with rubber gloves, plastic bags, a respirator, and some bleach, my thoughts turned to an increasingly dark and depressing place: the state of the arts in Vermont. Or more accurately, the state of the arts sector.
The arts themselves, if you ask the average guy in the street, appear to be flourishing. A lot is happening all over the state, from world-class music festivals to folk-based arts, crafts and food fairs, to exhibitions and local farmers markets, and history expos and historical reenactments, all of which feature some aspect of Vermont's prodigious creative output. We're ranked 4th in the nation in per capita amount of artists living in the state, and 1st in the nation for writers living here.
But the sector itself, particularly the organizations that are responsible for curating, presenting, preserving, and sustaining Vermont's artistic and cultural legacy are more fragile than ever.
This is a subject that many people, including me, have written about in the past. Baumol and Bowen in the mid 1960s were among the first economists to articulate the theory behind the inevitable decline in arts organizations due to their overwhelming reliance on human labor, the cost of which, over time, would geometrically out-pace an organization's arithmetic income-producing capacity. They forecast an inevitable "Malthus/Keynes v. Arts Organization Tag-Team Smackdown on Pay-Per-Vue" only we didn't really want to believe it. Well, start believing.
In case I haven't been this clear before: the sector is due for a shake-up—which may not be a bad thing. Ours is a mature field with many mature organizations (generally considered to be organizations that are at least 25 years old ). In the for-profit sector, where maximizing corporate profits rules decision-making, industry shake-ups occur regularly, if not frequently. Whole industries have been established to support this relentless drive towards economic efficiency and profitability. “Mergers and Acquisitions” are a subset of the banking and legal sectors. Bankruptcy is a great tool for capitalists, ensuring that the weak are culled from the herd as painlessly and efficiently as possible.
But in the not-for-profit sector, where virtually all organizations are mission-driven, and the profit motive is secondary (or in some unbelievable cases, nonexistent!), M&A and bankruptcy are incomprehensible alternatives. Why? If you peel away all the motivating factors it comes down to two things. First, boards and executives of not-for-profits (the former of which are almost always volunteers) don't want to be part of what many of their peers will consider a “failure”--the dismantling or reorganization of a charitable organization. Second, there are almost always a few very vocal community-members that, when their favorite charitable organization is threatened, reach into the deepest part of their hearts and rally just enough support to avert an immediate melt-down. Organizations who have, perhaps, outlived their original mission purpose, or that are so inefficiently managed that they are unsustainable, are thus allowed to survive for yet another year, operating at reduced capacity, with an ever-increasing bank of “ill-will” from suppliers, vendors, creditors and, yes, upstart competitors with newer, more efficient ideas.
If I'm right (and remember, I'm cleaning my basement here), how do we deal with this?
First and foremost, we have to change our mindset: We have to be PROFITABLE!!!
We have to re-examine our business model. We have to do a SWOT analysis to determine who the competition is and who our potential collaborators are. We have to get comfortable with adopting many of the practices of the for-profit sector in terms of devoting a significant percentage of our operating budgets to marketing and promoting our products and services. A quick scan a few years ago revealed that only a few organizations spend more than 15% on this expense, and most spend 5% or less. Why? Because "every extra dollar must go to program" --a phrase which has to be excised from our policy mind-sets.
Boards have to think of the resignation of an executive as an opportunity not just to stop and do a massive, national search for his or her replacement, but to consider—CONSIDER—reaching out to the arts organization up the road to see if it might be a good time to think about merging your two operations together.
We have to stop letting our administrators excuse or explain away a bad year by saying “but that's how we've always operated. This year it just didn't work!” We have to insist on professional development for managers so that at the very least, they can understand what their own financial statements are telling them about the health of their operations.
A colleague of mine in another part of the country had to tell a constituent why his operating grant had been severely reduced. In his first year as the director, the constituent had racked up a $500,000 deficit. To his credit, he had changed his management plan and for the subsequent four years, he had run a small, but positive annual fund balance (profit). To his own thinking, the director had a 4-1 record, four profitable years, and one (VERY) unprofitable year, and he couldn't understand why the grant review panel had cut his grant so much.
My colleague had to explain to him that his metaphor was wrong. His record wasn't 4-1. He was still in the same ballgame in which he had gotten behind by 500,000 runs in the first inning. At the top of the sixth inning the score was still 500,000 to 12,000. No for-profit would have carried that kind of deficit for that amount of time, and it was clear to the review panel, that this condition was severely cramping the organization's ability to fulfill its mission.
That's the mindset we need to be adopting.
And speaking of mindsets, I can't wait to be done with my basement and get back to walking my dogs and mowing the lawn.
Wednesday, June 4, 2008
MEET ART
It’s an “in-between” time of year. Our annual meeting is finished, and our new board leadership is still organizing itself. The legislature is done for the year and the campaign season hasn’t really started. Some kids are still in school while others have graduated and started their summer jobs or are catching up on sleep. Spring is pretty much over, but summer has not quite begun. I haven’t received my three cords of wood for next winter, but I haven’t finished paying off my latest fuel oil bill either.
During these “lull” times I like to catch up on all those things I’ve been waiting to find time to do. I’ve started a book by former NEA Chair Bill Ivey called "Arts Inc." It’s a good read but I can tell when I’m finished I’m going to want to feel good about our society, so I’ll probably re-read Dan Pink’s "A Whole New Mind".
Whenever I have the chance, I always enjoy exploring and learning about Art. I encourage you to spend some time on our website where you, too, can get acquainted with many forms of Art….
We’re celebrating the 20th Anniversary of the Art in State Buildings Program which has funded two dozen public art commissions in new or renovated state buildings over the years. Paul Gruhler and David Schutz have put together a representative exhibition of works from the AISB program as well as other works the state has collected since 1847 and brought them on tour. This tour is called the Art of Vermont and will be in venues all over the state in the coming year. Once you’ve clicked on the link, you’ll find instructions for downloading many of the images as a computer screensaver. It’s quite a collection.
Related to this exhibition is a new Art Trail built on a Google Maps platform that describes how to get to all the permanent works of art in the State collection that can’t tour (like floors, banisters, windows, and other parts of a building’s infrastructure that doesn’t hang on a well-lighted wall). The Art Trail also showcases photos, directions, and several videos of artists talking about his/her work. Let us know what you think of it.
We are currently showcasing the works of the Arts Council’s first Executive Director Art(hur) Williams in our Spotlight Gallery. His is a retrospective of all the works he has created that have been inspired by his lifetime association with the coast of Maine. In addition to the pleasure of having these small and very approachable works in our gallery, we have all been delighted to spend some time with one of Vermont’s most beloved eminences gris.
A few clicks away is Art of a different nature: (drum roll please) Art(hur) Fitz, the new mascot of our second statewide community arts project, Art Fits Vermont. Art has been pleasantly surprised by the reception he’s gotten, given that he’s the shy and retiring sort. If you go to our home page, the link to his introductory video is in the left-hand column—he’s holding a puzzle piece that says “Chittenden” on it. Art’s got a puzzle piece for every county, trust me!
Of course, if the art on our website doesn’t grab you, by all means check out what’s happening all over state by searching our statewide Art Calendar. This time of year the days and nights are filled with pretty much anything you could wish for, from food fairs to caber tosses; Mozart Festival concerts to exhibitions at the Shelburne Museum.
So to recap: there’s Art in State Buildings, Art of Vermont, Art Trail, Art Williams, Art Fitz, and Art Calendar. All good stuff, all worth checking out, and all about Art.
Okay, the lull is over. Back to work!
During these “lull” times I like to catch up on all those things I’ve been waiting to find time to do. I’ve started a book by former NEA Chair Bill Ivey called "Arts Inc." It’s a good read but I can tell when I’m finished I’m going to want to feel good about our society, so I’ll probably re-read Dan Pink’s "A Whole New Mind".
Whenever I have the chance, I always enjoy exploring and learning about Art. I encourage you to spend some time on our website where you, too, can get acquainted with many forms of Art….
We’re celebrating the 20th Anniversary of the Art in State Buildings Program which has funded two dozen public art commissions in new or renovated state buildings over the years. Paul Gruhler and David Schutz have put together a representative exhibition of works from the AISB program as well as other works the state has collected since 1847 and brought them on tour. This tour is called the Art of Vermont and will be in venues all over the state in the coming year. Once you’ve clicked on the link, you’ll find instructions for downloading many of the images as a computer screensaver. It’s quite a collection.
Related to this exhibition is a new Art Trail built on a Google Maps platform that describes how to get to all the permanent works of art in the State collection that can’t tour (like floors, banisters, windows, and other parts of a building’s infrastructure that doesn’t hang on a well-lighted wall). The Art Trail also showcases photos, directions, and several videos of artists talking about his/her work. Let us know what you think of it.
We are currently showcasing the works of the Arts Council’s first Executive Director Art(hur) Williams in our Spotlight Gallery. His is a retrospective of all the works he has created that have been inspired by his lifetime association with the coast of Maine. In addition to the pleasure of having these small and very approachable works in our gallery, we have all been delighted to spend some time with one of Vermont’s most beloved eminences gris.
A few clicks away is Art of a different nature: (drum roll please) Art(hur) Fitz, the new mascot of our second statewide community arts project, Art Fits Vermont. Art has been pleasantly surprised by the reception he’s gotten, given that he’s the shy and retiring sort. If you go to our home page, the link to his introductory video is in the left-hand column—he’s holding a puzzle piece that says “Chittenden” on it. Art’s got a puzzle piece for every county, trust me!
Of course, if the art on our website doesn’t grab you, by all means check out what’s happening all over state by searching our statewide Art Calendar. This time of year the days and nights are filled with pretty much anything you could wish for, from food fairs to caber tosses; Mozart Festival concerts to exhibitions at the Shelburne Museum.
So to recap: there’s Art in State Buildings, Art of Vermont, Art Trail, Art Williams, Art Fitz, and Art Calendar. All good stuff, all worth checking out, and all about Art.
Okay, the lull is over. Back to work!
Wednesday, May 21, 2008
COMMUNITY MEMORIES
People Magazine, the Burlington Free Press, the Times Argus and a host of radio and television commercials are touting the “end of (this) season, beginning of (the next) season, MUST-SEE” television offerings.
As if basketball and hockey playoffs weren’t occupying enough of our valuable family-garden-spring cleaning-“off-duty” time, within one week we have the final episodes of “Bones” and “House”; the two-night finale of “American Idol” (Go David!), “Dancing with the Stars”, “Desperate Housewives” and “Scrubs” followed immediately by a host of New! Shocking! Exciting! Revealing! shows like “So You Think You Can Dance” and “The Bachelorette” waiting in the wings. So much choice and so little time! What is a person to do?
The answer became clear to me last Friday night.
I sat in the balcony at the Barre Opera House while Montpelier’s Contemporary Dance and Fitness Studio performed its spring showcase. Two of my children are dancers. The older one takes Hip-Hop and Jazz; the younger one, just Hip Hop.
I sat for 3 ½ hours to watch my children perform in three numbers totaling about nine minutes. If I’d had to I would have sat for twice that amount of time.
It wasn’t just that my kids performed in front of a packed and hugely supportive crowd. Nor was it just that I knew about every fifth member of the audience and their children who were also dancing.
It was one of those rare times that I suddenly realized I was at the creation of a life-long memory for at least two of my children.
At this age (11 and 12), a lot is going on. In school they are learning all the fundamental issues in math and science and social studies. They’re into things like how plants purify our air. They’re exploring intergenerational issues and problems like global warming. They’re basically kids learning to stretch their minds.
But for my daughter and son, and for the 125 other kids who performed last weekend, the one thing about this whole year that they will always remember is their performance this past weekend.
The make-up. The hair-spray. The lights, the sound, the palpable energy flowing over the stage from the audience. The hoots and applause, the laughter, the flowers and boxes of chocolate. The bottled water. The staying-up-way-past-your-bed-time. The recap of who barely made their entrance, whose costume was falling off the whole time they were on stage, the missed entrances, the awkward pauses, the final positions held until black-out.
I sat rooted in my seat, tears in my eyes. I’m fifty years old, and I was transported back to that precious time when I played a guard to the three wise men and my older brother was one of three mummers in our grammar school holiday extravaganza. I remembered the time I wrote a Star Trek play for seventh grade English class and we staged it for our school and my grandmother came to the performance dressed all in black with a black veil (we don’t discuss her wardrobe choices anymore). I remembered all the times when we kids did things together. We shared our joys and heartaches; won our championships, and lost them together—as a community.
At intermission I ran into the guy who fixes my car. I’ve known him for 11 years. He knows my car intimately. I know next to nothing about him. I asked him which dance his child was in. “The Hip-Hop one,” he replied, “She does a brief duet with a boy up-stage right.” “Funny,” I said, “my boy does a duet in the same place with a little girl.”
It turns out his girl and my boy were dance partners. And thus another shared moment goes into the memory banks.
It’s likely that most of the little kids who were featured in the beyond-cute beginners’ classes will not, by the time they graduate from high school, be involved in any meaningful way with dance. In every class, especially the beginners’ classes, there were only a few performers who stood out. By the time all the rest of those kids get to be seniors, they will have experienced a self-selection process that will push them towards soccer, lacrosse, hockey, theater, science club, or a host of other worthy activities. But one thing is certain. Everyone who participated in the program will always carry this experience with them. They will always be able to say, with increasing fondness as the years go by, that for one magical weekend they created a community’s worth of lifetime memories.
Sure, I’ll probably watch the American Idol finale. But 10, 20, 40 years from now I’ll have forgotten whether the winner was David Archuleta or David Cook, and even who Simon Cowell was. But I will still remember last week’s performance at the Barre Opera House, and so will my children and my auto mechanic and his daughter, and their 125 friends and family members.
As if basketball and hockey playoffs weren’t occupying enough of our valuable family-garden-spring cleaning-“off-duty” time, within one week we have the final episodes of “Bones” and “House”; the two-night finale of “American Idol” (Go David!), “Dancing with the Stars”, “Desperate Housewives” and “Scrubs” followed immediately by a host of New! Shocking! Exciting! Revealing! shows like “So You Think You Can Dance” and “The Bachelorette” waiting in the wings. So much choice and so little time! What is a person to do?
The answer became clear to me last Friday night.
I sat in the balcony at the Barre Opera House while Montpelier’s Contemporary Dance and Fitness Studio performed its spring showcase. Two of my children are dancers. The older one takes Hip-Hop and Jazz; the younger one, just Hip Hop.
I sat for 3 ½ hours to watch my children perform in three numbers totaling about nine minutes. If I’d had to I would have sat for twice that amount of time.
It wasn’t just that my kids performed in front of a packed and hugely supportive crowd. Nor was it just that I knew about every fifth member of the audience and their children who were also dancing.
It was one of those rare times that I suddenly realized I was at the creation of a life-long memory for at least two of my children.
At this age (11 and 12), a lot is going on. In school they are learning all the fundamental issues in math and science and social studies. They’re into things like how plants purify our air. They’re exploring intergenerational issues and problems like global warming. They’re basically kids learning to stretch their minds.
But for my daughter and son, and for the 125 other kids who performed last weekend, the one thing about this whole year that they will always remember is their performance this past weekend.
The make-up. The hair-spray. The lights, the sound, the palpable energy flowing over the stage from the audience. The hoots and applause, the laughter, the flowers and boxes of chocolate. The bottled water. The staying-up-way-past-your-bed-time. The recap of who barely made their entrance, whose costume was falling off the whole time they were on stage, the missed entrances, the awkward pauses, the final positions held until black-out.
I sat rooted in my seat, tears in my eyes. I’m fifty years old, and I was transported back to that precious time when I played a guard to the three wise men and my older brother was one of three mummers in our grammar school holiday extravaganza. I remembered the time I wrote a Star Trek play for seventh grade English class and we staged it for our school and my grandmother came to the performance dressed all in black with a black veil (we don’t discuss her wardrobe choices anymore). I remembered all the times when we kids did things together. We shared our joys and heartaches; won our championships, and lost them together—as a community.
At intermission I ran into the guy who fixes my car. I’ve known him for 11 years. He knows my car intimately. I know next to nothing about him. I asked him which dance his child was in. “The Hip-Hop one,” he replied, “She does a brief duet with a boy up-stage right.” “Funny,” I said, “my boy does a duet in the same place with a little girl.”
It turns out his girl and my boy were dance partners. And thus another shared moment goes into the memory banks.
It’s likely that most of the little kids who were featured in the beyond-cute beginners’ classes will not, by the time they graduate from high school, be involved in any meaningful way with dance. In every class, especially the beginners’ classes, there were only a few performers who stood out. By the time all the rest of those kids get to be seniors, they will have experienced a self-selection process that will push them towards soccer, lacrosse, hockey, theater, science club, or a host of other worthy activities. But one thing is certain. Everyone who participated in the program will always carry this experience with them. They will always be able to say, with increasing fondness as the years go by, that for one magical weekend they created a community’s worth of lifetime memories.
Sure, I’ll probably watch the American Idol finale. But 10, 20, 40 years from now I’ll have forgotten whether the winner was David Archuleta or David Cook, and even who Simon Cowell was. But I will still remember last week’s performance at the Barre Opera House, and so will my children and my auto mechanic and his daughter, and their 125 friends and family members.
Wednesday, May 7, 2008
LEGISLATIVE RECAP
Two days after Arts Achievement Day in the Vermont State House I took my family to Florida for Spring Break, leaving behind a cultural afterglow in the State House that would carry us through the end of the session. I returned 10 days later to find the legislature deep in its final discussions—full of new economic incentive plans laid on at the 11th hour, and trying to figure out how to fix education, improve health care, handle criminals, and fill pot-holes.
I also returned to a legislature that would, in the end, recommend a 2.5% increase to our appropriation and only a 10% (not 25%) cut to our Cultural Facilities Grant program. This is a success story, and here’s why:
First, more of you participated in Arts Achievement Day than ever before and left legislators with the very clear understanding of why the arts are important in our communities, our educational efforts, and in our economic development efforts. Your presence in the State House was felt strongly and very positively.
Second, the Senate had the most difficult row to hoe since the latest earnings projections for the State came out right after the House finished work on its Appropriations Bill approved an additional 2% increase over the Governor’s recommend. Thus, the Senate had to make $25 million dollars worth of cuts to the House bill. That we survived with essentially a cost of living increase is, frankly, a minor miracle.
Third, the Capital Construction Bill, in which the Cultural Facilities Grant program is located, had to absorb the bulk of the emergency transportation spending which forced a $50,000 (25%) cut on the $200,000 recommended by the Governor. The fact that the legislature put back $30,000 of this funding in the final day or two is a significant statement about the importance of our cultural facilities to our state’s economy.
So, am I disappointed? Yes and no. We did not get the additional $90,000 we needed in order to have funds to support community-based Art Fits Vermont (puzzle project) activities. And our Cultural Facilities Grant program took a 10% hit which means there will be one or two fewer cultural facilities grants awarded next fall.
But…
We have a much stronger advocacy presence than ever before with a much clearer, cleaner message that is being heard…
We survived what several folks have described as “a bloodbath…” and will continue to press our case into the election season.
We have very good relations with the Governor, the Administration, the House and Senate leadership, and leadership on the four “money” committees: House and Senate Appropriations and Institutions Committees. This is due, in no small part, to all of you who wrote letters, made phone calls, or visited the State House this spring.
I attended a nice arts gala in St. Albans last Friday, the day before the legislature adjourned. The Governor was also there and in his remarks he was quite articulate in describing the increasingly important role the arts and cultural sector is playing in revitalizing Vermont. He clearly “gets it.”
The more important question, however, is where will he go next? Where will his opponent in the fall election stand on the arts? For that matter, where does your legislator stand? His/her opponent?
You can tell where this is going, can’t you? Our work has only just begun. We have a lot of tools to use, and resources to bring to bear on educating all of the candidates for election next fall on the value of supporting the arts. The design of our downtown spaces, our roadways and bridges; the ability of our schools to instill a sense of imagination and civic engagement in our children; the ability for our cultural institutions to serve as the “reserve bank” of creative social capital in our communities—all of these and so much more depend on a healthy arts and cultural sector. A healthy arts and cultural sector, in turn, depends so much on decisions made by people you elect. Make sure, during this election season, they have ample opportunity to “get it.”
We will be putting together information for you to use when examining the positions of your candidates for office. Remember, if the arts are important to you (and if you’re reading this, I hope I may assume that they are!) then they also must be important to your legislators.
In the meantime, “Art Fits Vermont” kicked off with all the pomp and circumstance a press conference in the State House could muster. Our funding and operational partners are all hard at work creating puzzle pieces. Keep an eye on our website for more news and information about this incredible project.
Finally, get out and enjoy the sunshine. An while you’re out there, enjoy some art…!
I also returned to a legislature that would, in the end, recommend a 2.5% increase to our appropriation and only a 10% (not 25%) cut to our Cultural Facilities Grant program. This is a success story, and here’s why:
First, more of you participated in Arts Achievement Day than ever before and left legislators with the very clear understanding of why the arts are important in our communities, our educational efforts, and in our economic development efforts. Your presence in the State House was felt strongly and very positively.
Second, the Senate had the most difficult row to hoe since the latest earnings projections for the State came out right after the House finished work on its Appropriations Bill approved an additional 2% increase over the Governor’s recommend. Thus, the Senate had to make $25 million dollars worth of cuts to the House bill. That we survived with essentially a cost of living increase is, frankly, a minor miracle.
Third, the Capital Construction Bill, in which the Cultural Facilities Grant program is located, had to absorb the bulk of the emergency transportation spending which forced a $50,000 (25%) cut on the $200,000 recommended by the Governor. The fact that the legislature put back $30,000 of this funding in the final day or two is a significant statement about the importance of our cultural facilities to our state’s economy.
So, am I disappointed? Yes and no. We did not get the additional $90,000 we needed in order to have funds to support community-based Art Fits Vermont (puzzle project) activities. And our Cultural Facilities Grant program took a 10% hit which means there will be one or two fewer cultural facilities grants awarded next fall.
But…
We have a much stronger advocacy presence than ever before with a much clearer, cleaner message that is being heard…
We survived what several folks have described as “a bloodbath…” and will continue to press our case into the election season.
We have very good relations with the Governor, the Administration, the House and Senate leadership, and leadership on the four “money” committees: House and Senate Appropriations and Institutions Committees. This is due, in no small part, to all of you who wrote letters, made phone calls, or visited the State House this spring.
I attended a nice arts gala in St. Albans last Friday, the day before the legislature adjourned. The Governor was also there and in his remarks he was quite articulate in describing the increasingly important role the arts and cultural sector is playing in revitalizing Vermont. He clearly “gets it.”
The more important question, however, is where will he go next? Where will his opponent in the fall election stand on the arts? For that matter, where does your legislator stand? His/her opponent?
You can tell where this is going, can’t you? Our work has only just begun. We have a lot of tools to use, and resources to bring to bear on educating all of the candidates for election next fall on the value of supporting the arts. The design of our downtown spaces, our roadways and bridges; the ability of our schools to instill a sense of imagination and civic engagement in our children; the ability for our cultural institutions to serve as the “reserve bank” of creative social capital in our communities—all of these and so much more depend on a healthy arts and cultural sector. A healthy arts and cultural sector, in turn, depends so much on decisions made by people you elect. Make sure, during this election season, they have ample opportunity to “get it.”
We will be putting together information for you to use when examining the positions of your candidates for office. Remember, if the arts are important to you (and if you’re reading this, I hope I may assume that they are!) then they also must be important to your legislators.
In the meantime, “Art Fits Vermont” kicked off with all the pomp and circumstance a press conference in the State House could muster. Our funding and operational partners are all hard at work creating puzzle pieces. Keep an eye on our website for more news and information about this incredible project.
Finally, get out and enjoy the sunshine. An while you’re out there, enjoy some art…!
Wednesday, April 9, 2008
GETTING CONTROVERSIAL
If this were a normal week, I would be guiding you towards the highlights of our April 16th Arts Achievement Day celebration in the Vermont State House. But, like many people across the country, every year around tax time I get anxious about money, and April 16th is just one day past the dreaded “Ides of April.”
About seven years ago I read an op-ed piece in the New York Times by Thomas Friedman that instructed us, every time we read the word “tax” followed by the word “cut” emanating from the Bush Administration, to substitute the word “service” for the word “tax.”
A couple of weeks ago the Brookings Institution—a so-called “left-leaning” think tank based in Washington DC—published an article on the implications of the Bush II Tax Cut legacy.
Reading this article made me understand better why there is no money in the state of Vermont. The burden of paying for everything we depend on our government for has fallen almost exclusively on the shoulders of the state. And Vermont, like a few others, doesn’t have a large enough population to support all the programs and services that used to be covered either wholly or in part by the federal government.
The state of Vermont is unable to support the ambitious plans to celebrate the 400th Anniversary of Samuel de Champlain’s arrival on the lake that now bears his name. Funds that could have been used for that purpose have been-or will likely be—diverted to shore up the worst parts of our crumbling transportation, health care, public safety and education infrastructure.
There is nowhere near enough money in the State House to replace funds that no longer come from Washington. Since 2001, as a country we have foregone $1.7 trillion (with another $1.8 trillion if the tax cuts are made permanent) in tax revenue and borrowed heavily to pay for not one but TWO foreign wars at the same time.
Every time I turn around I hear more bad news. As a result, I have come to one inescapable conclusion:
What terrorists could never have accomplished in their wildest dreams by destroying the World Trade Center in 2001, our own government has accomplished in its response to that terrible crime in less than seven years.
Our country is bankrupt, dependent on China to purchase our ever-increasing debt burden in order to stay operational. Manufacturing jobs are gone; and service jobs are next on the chopping block. We live in fear that our innocent calls to our relatives living and working overseas will be tapped and we will be put on some “no travel” list. We have to all but disrobe every time we get on a plane (jackets, belts, shoes, toiletries over 3 oz.—what’s next, dental floss?). We are, in effect, no longer free citizens living in a democratic republic.
You put all this together, and “shock and awe” doesn’t come close to describing how I feel.
For those of you that haven’t had to pay your heating bill lately, or haven’t had to pay for emergency medical services at your local hospital out of pocket; if you haven’t had to buy milk, bread or eggs in the past couple of weeks, or fill your car with gas, you might not necessarily agree with what I’m about to say. But here it is anyway.
Repeal the Tax Cuts. Put that money back into the system. Starving government for the sake of starving government is no way to establish, much less enforce, good public policy.
And next time, pay attention when someone offers you $600 in return for “a better economy.” And pay double attention if they offer you $1200 (plus $300 per kid).
Like I said, every year at this time I get anxious about money. So my advice to me and to you is to get past the 15th, and come to State House on the 16th for Arts Achievement Day. It will restore your hope and faith in the great things we can accomplish together. After all, this is the United States of America. And even better, this is Vermont…
About seven years ago I read an op-ed piece in the New York Times by Thomas Friedman that instructed us, every time we read the word “tax” followed by the word “cut” emanating from the Bush Administration, to substitute the word “service” for the word “tax.”
A couple of weeks ago the Brookings Institution—a so-called “left-leaning” think tank based in Washington DC—published an article on the implications of the Bush II Tax Cut legacy.
Reading this article made me understand better why there is no money in the state of Vermont. The burden of paying for everything we depend on our government for has fallen almost exclusively on the shoulders of the state. And Vermont, like a few others, doesn’t have a large enough population to support all the programs and services that used to be covered either wholly or in part by the federal government.
The state of Vermont is unable to support the ambitious plans to celebrate the 400th Anniversary of Samuel de Champlain’s arrival on the lake that now bears his name. Funds that could have been used for that purpose have been-or will likely be—diverted to shore up the worst parts of our crumbling transportation, health care, public safety and education infrastructure.
There is nowhere near enough money in the State House to replace funds that no longer come from Washington. Since 2001, as a country we have foregone $1.7 trillion (with another $1.8 trillion if the tax cuts are made permanent) in tax revenue and borrowed heavily to pay for not one but TWO foreign wars at the same time.
Every time I turn around I hear more bad news. As a result, I have come to one inescapable conclusion:
What terrorists could never have accomplished in their wildest dreams by destroying the World Trade Center in 2001, our own government has accomplished in its response to that terrible crime in less than seven years.
Our country is bankrupt, dependent on China to purchase our ever-increasing debt burden in order to stay operational. Manufacturing jobs are gone; and service jobs are next on the chopping block. We live in fear that our innocent calls to our relatives living and working overseas will be tapped and we will be put on some “no travel” list. We have to all but disrobe every time we get on a plane (jackets, belts, shoes, toiletries over 3 oz.—what’s next, dental floss?). We are, in effect, no longer free citizens living in a democratic republic.
You put all this together, and “shock and awe” doesn’t come close to describing how I feel.
For those of you that haven’t had to pay your heating bill lately, or haven’t had to pay for emergency medical services at your local hospital out of pocket; if you haven’t had to buy milk, bread or eggs in the past couple of weeks, or fill your car with gas, you might not necessarily agree with what I’m about to say. But here it is anyway.
Repeal the Tax Cuts. Put that money back into the system. Starving government for the sake of starving government is no way to establish, much less enforce, good public policy.
And next time, pay attention when someone offers you $600 in return for “a better economy.” And pay double attention if they offer you $1200 (plus $300 per kid).
Like I said, every year at this time I get anxious about money. So my advice to me and to you is to get past the 15th, and come to State House on the 16th for Arts Achievement Day. It will restore your hope and faith in the great things we can accomplish together. After all, this is the United States of America. And even better, this is Vermont…
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