Arts and Community Development

In the Reader last issue I reported on the Cleveland Foundation's decade-long effort (in partnership with other area funders, cultural institutions, and the Community Partnership for Arts and Culture) to make the case for local public support for the arts here. At the GIA conference last November, anyone within shouting distance of those of us from Cleveland must have heard that we were suc-cessful. The grins on our faces lit up the host celebration that first night.

Over the past few years, foundations of all kinds have been paying increasing attention to ways their resources can have greater impact by effecting policy and systems change. This trend has led foundations to reassess how they do their work and who their likely partners are. As a result, a body of knowledge within philanthropy is being created about how to successfully draw on foundation resources to change policy.

When I started DJing back in the early '70s, it was just something that we were doing for fun. I came from “the people's choice,” from the street. If the people like you, they will support you and your work will speak for itself. The parties I gave happened to catch on. They became a rite of passage for young people in the Bronx. Then the younger generation came in and started putting their spin on what I had started. I set down the blueprint, and all the architects started adding on this level and that level. Pretty soon, before we even knew it, it had started to evolve.

Re-imagining Orchestras: A forthright report on the mixed results of one foundation's efforts

Stan Hutton

New Year's Day, 1980, found Arlene Goldbard living in Washington, D.C. monitoring and reporting on our nation's de facto cultural policy. The fact that Arlene was doing this says a lot about the leadership role that many of us were counting on the federal government to play in leveling the field so that our many U.S. cultures would have an equal chance to express themselves, to develop, and, inevitably, to cross-pollinate. It was a substantial and beautiful vision then, and remains so today.

Artist Rene Yung's presentation of this paper generated lively discussion at a forum of the Arts Loan Fund of Northern California Grantmakers, in October 2006. It was written just as Arlene Goldbard's new book, New Creative Community, was published. Although Yung refers to an earlier publication (Creative Community: The Art of Cultural Development, by Don Adams and Gold-bard, 2001), she touches on many of the same themes discussed by the authors of "The Art of Social Imagination" (page 27 in this Reader) and reveals how the ideas have been adopted by an artist in practice.

The Vermont Arts Council's second annual arts conference took place on June 16 and 17 in Montpelier, Vermont. This year's conference, titled "On the Street Where You Live, the Arts as a Community Resource," brought together over 100 artists, arts administrators, nonprofit board members and state government officials to talk about how best to engage the arts in the ongoing challenges Vermont communities face in the areas of sprawl, crime, education, at-risk youth, the environment, preservation, and transportation.

For four years now at the Walter and Elise Haas Fund I have been evaluating San Francisco projects in the arena of audience development. From my years as executive director of Intersection for the Arts I remember planning around percent of capacity, marketing strategies, and collaborative programming, but more than that, when I think of our audience I think about the difficult relationship between our arts organization and the street.

The Boston Foundation is one of the oldest community foundations in the nation. With an asset base of about $500 million, it makes grants of approximately $20 million each year in the Greater Boston area. For the past four years, the Foundation's discretionary grantmaking has been guided by its Building Family and Community Initiative. This initiative focuses on helping Boston's children and their families overcome poverty.

Classical musics are comparatively rare; they seem to need for their existence not only a leisured class able to command a quantity of surplus resources but also a situation where that class is to some degree isolated from the majority of the people and possesses the social power to represent its own tastes as superior.