September 06, 2010
Physicists now believe that most of the mass in the universe is something very different from the stuff we’re used to observing and measuring. Could something similar be true in the more down-to-earth realm of arts participation?
I’m preparing for a panel next month at the Grantmakers in the Arts conference entitled “Are the Arts Gaining or Losing Ground in America?” The session was cooked up by Paul Botts, a friend of mine and program director at the Gaylord & Dorothy Donnelley Foundation. Paul is understandably impatient about the fact that, for all the data we’ve complied on arts audiences as a field, we’re not really sure what the numbers really mean, or even whether things are tanking, holding steady, or (as unlikely as it sometimes seems) growing.
As you probably know, the NEA’s Survey of Public Participation in the Arts says that most of the traditional or “benchmark” forms of cultural participation — which is to say, attendance — have been dropping steadily over the last two or three decades.
But many people, including the NEA‘s own head of research, Sunil Iyengar, have noted that times are changing fast and fundamentally, and it might be a good idea to update our definitions of both “benchmark” art forms and “participation.” (To its credit, the NEA's most recent SPPA report does away with the term "benchmark.") Because it’s entirely possible that, while attendance at things like opera, symphonies, ballet, and art museums has declined, engagement with less formal styles of art, culture, and creative expression has risen, and that participation (in the sense of doing something actively, rather than sitting there watching and listening to others do it) has grown.
If so, the question is whether that growth outstrips the declines in attendance at the traditional arts. Which way is the “total” needle pointing?
A strum-along class at the Old Town School of Folk Music's "First Friday" this past weekend. Sorry for the iPhone photo quality.
I had all that question knocking around in my head when I wandered into the Old Town School of Folk Music last Friday evening after work. It’s right in my neighborhood, Lincoln Square, and it‘s one of the most thriving, lively arts institutions I’ve seen. Even if you didn’t know it was there, you’d be able to infer its existence from all the people carrying guitars around here.
I paid my five bucks for the “First Friday” open house, a monthly mix of student performances, faculty-led jam sessions, goofy square dancing for toddlers and kids, and drop-in classes for grownups, capped off at the end of the night by performances by one or two people you‘d actually buy tickets to hear.
I bumped into some friends who had brought their two little kids, and we had a beer while catching sets by one class called 70s Ensemble and another called Rolling Stones Ensemble. As you’d guess, the talent on stage varied widely, from beginning strummers to polished electric licks. The teacher of each class sat in with the students and acted as bandleader, but that didn’t change the homemade, singalong vibe. Even when it was bad it was fun, and it was often pretty damn good. ...
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Categories: Arts participation, Business models, Chicago, Classical music, Engagement, Other nonprofits, Participatory engagement and co-creation, Performing arts, State of the arts
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