Advocacy and Public Policy

2006, 326 pages. United for a Fair Economy, 29 Winter Street, Boston, MA 02108, 617-423-2148, info@faireconomy.org

A thorough history outlining the ways US government policy has shaped the ways different racial groups have accumulated and maintained wealth with chapters devoted to Native Americans, Latinos, African-Americans, Asian Americans, and Europeans Americans. The concluding chapter offers policy recommendations on ways to share prosperity.

2004. Freepress, 100 Main St, P.O. Box 28, Northampton, MA 01061, 877-888-1533

Download PDF here

National Guild of Community Schools of the Arts, 520 8th Avenue, Suite 302, New York, NY 10018, (212) 268-3337

This handbook outlines best practices that arose from the Partners in Excellence Initiative to promote arts education partnerships between community and public schools. The guide begins by defining a partnership, continues with how to build and sustain one, and concludes with a chapter on evaluation and assessment. PDF available for download at website.

Beginning in 1999, the United Nations Educational, Scientific and Cultural Organization (UNESCO) launched a global initiative to strengthen arts education. In 2003, Portuguese delegates to the United Nations called for a global conference to address this aim, resulting in the first-ever World Conference on Arts Education. The World Conference brought together 1,200 artists, educators, policy makers, and researchers from over ninety-seven countries in Lisbon, Portugal from March 6-9, 2006.

These thoughts were sparked by attending the Council on Foundations 57th Annual Conference, "Philanthropy: Investing in the Vision of Progress." I was especially engaged by the plenary remarks of George Soros and Newt Gingrich.

Steve Gunderson is the new president and CEO of the Council on Foundations. After serving three terms in the Wisconsin State Legislature, Gunderson served sixteen years in the U.S. Congress, where he focused on agriculture, education, employment policy, health care, and human rights. After not seeking re-election in 1996, he served as senior consultant and managing director for the Washington office of the Greystone Group, a Michigan-based strategic management and communications consulting firm.

It is very unusual for any urban renewal plan not to include reference to the role that arts organizations and arts buildings can potentially play in regeneration. Most recently, in Hurricane Katrina's wake, both have figured prominently in discussions about the future of New Orleans and Biloxi. But the discussions about arts organizations and those about arts buildings are curiously and uncomfortably divorced.

We live in a world of "widespread hostility toward the United States and its policies."1 This antipathy is not limited to the countries and peoples that are directly affected by the U.S. "war on terror" and its attendant pol-icies, but includes many of our former allies and fellow democracies. A friend who just returned from a year in Spain reports that she spent a significant amount of time and energy convincing people she met there that the U.S.

Artists and arts institutions rely on the free flow of information to create and distribute their work. The converging digital environment presents many new options for the delivery of specialized information to targeted audiences, and the cultural community is becoming increasingly sophisticated in deploying these tools. However, the United States is only sixteenth in the world in broadband Internet penetration, and the growing digital divide presents a challenge to the vision of ubiquitous access to high-quality images, sound, and text.

This time it was the catastrophic devastation in the Gulf States. Last time it was the 9/11 attack. Before that were the floods in North Dakota, the earthquakes in San Francisco and Seattle, and Hurricane Hugo in South Carolina, and then

Each time disaster strikes — whether natural or man made — communities face inestimable emotional and economic suffering. When artists, arts organizations, and cultural institutions are affected by these disasters, the confusion and bewilderment about what to do and how to help extends very directly to us as arts grantmakers.