NPAC Artist Task Force

NPAC Artist Task Force

Deliverable Document

Assessment and Recommendations

7/31/09

Task Force members: Ed Harsh, Chair. Patrick Carfizzi , Teo Castellanos,Rudresh K. Mahanthappa, John Nuechterlein , Frank J. Oteri, Michael Royce , Andrea Snyder, Sandra Organ Solis, Meiyin Wang , MK Wegmann, Reggie Wilson, Amanda Burton Winger, Vicky Abrash NPAC Task Force Director.

DEFINING THE PRIORITY AREA

What are the challenges that, if met, would constitute a step forward in our area:

·  Giving artists more opportunities to do what they do (create or perform work), as well as connect with audiences, teach, etc.

·  Connecting artists together, for sharing of information and mutual growth

·  Ensuring artists a ‘seat at the table’ and an active role in thinking and acting along with institutions within their own disciplines and in the broader field

·  Activating artists as a powerful voice for advocacy for the performing arts generally and for specific areas of emphasis (e.g., working artists are probably the segment of the performing arts that comes closest to mirroring the diversity of society in all dimensions)

·  Providing resources to enable artists to participate in the broader context, regionally and nationally. Artists are currently too often isolated, overworked and under-resourced to be able to take advantage of interconnectivity within their discipline or across disciplines.

·  Defining artists broadly and supporting and valuing professional and amateur artists, those who also serve in other roles, etc., so as to serve all and to recognize the broad impact of artists in American life.

STRATEGY AND ACTION PLAN - RECOMMENDATIONS

1) Gather Artists’ Perspectives

·  Find out in more detail what would be useful to artists through a web survey or by reviewing the many surveys already completed in various disciplines and through various sources.

·  Go beyond the Task Force to collect information; emphasize reviewing and comparing results of recent surveys (e.g., “Taking Note” and/or relevant parts of economic crisis surveys)

2) Develop a Web Resource Center

·  An internet resource center, perhaps along the lines of a wiki, which brings together extant resources for artists into a one-stop resource site to allow a wide constituency to see and benefit from things they may well not know is out there and to add content directly. There are many excellent web resources available, but with different constituencies, disciplines, and purposes, so that it is unlikely for an artist currently to find everything that would be of use to them by searching. This one-stop shopping site would be a benefit to artists by providing access to extensive material, and could reduce redundancy for those who create content for artists, as groups share information and resources, and become more aware of what’s out there instead of duplicating efforts. It would include links to other sites, posted content, bulletin boards or forums for exchange, and such.

·  Facilitate conversations amongst the different resources already serving artists as a starting point, to assess what each is doing and how best to encourage connectivity

3) Enable Connectivity

Connectivity, both in-person and virtual, is essential to allow artists to build relationships, encourage collaboration, activate voices and develop professionally.

a. In-person

The task force agreed that while digital connections are very valuable, live contact is irreplaceable. Physical gatherings tend to elevate the visibility of the artist as a member of this sector and establish connections in a way that that does not happen as readily without live contact.

·  Another National Performing Arts Convention, with a significant artist presence.

·  Possible convenings in 5-6 hubs at once instead of in one location

·  Collaborating with conservatories, artist organizations, unions and national and local service organizations on live events. i.e. Conservatories can provide some connectivity for student and alumni artists. A regional organization might bring in a financial advisor to work with artists.

·  Encourage support systems to underwrite artist participation at live convenings.

b. Virtual

Technology can allow for connectivity on a scale and with an ease that is not feasible in person, and such opportunities should be fully engaged.

·  Make live events available to those who cannot attend through digital means

·  Offer mentoring and other support via Skype or the equivalent: a low cost service that could be very valuable to artists.

·  Expand Teleconferencing/Webinars/Web conferencing opportunities

·  Link live convenings digitally, to encourage broader participation and to allow for multi-arts, multi-regional connections

4) Activate Artists

·  Charge NSOs with activating the artists in their fields and ensuring them ‘seats at the table’ and inclusion in all important conversations, including those concerning the role of the arts in education policy.

·  Find ways to involve regional and local self-organizing and grassroots artist groups as well as membership organizations of various kinds.

·  Find creative ways for artists to be involved in artist corps activity organized at federal, state, and local levels, but with the important caveat that this be paid and not volunteer work.

·  Recognize the challenge: Although individual artists represent a huge resource for expression, communication, and advocacy, they are not monolithic.