Arts and Community Development

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.

Can you explain, in simple terms, how you or someone you know is changed by listening to music, watching a dance performance, looking at an artwork, or writing in a journal? I’d be hard pressed to manage a coherent response.

It’s not easy to talk about how art transforms or how we are different because of it. Many who work in the arts, including those of us who do so because of our belief in the transformative power of art, lack a vernacular for communicating its impacts.

2005, 32 pages. Cultural Initiatives Silicon Valley , 1153 Lincoln Avenue, Suite I, San Jose

"We have a term in our language called gW3dZadad— it is a form of wealth. It's the wealth of knowledge of culture of our peoples, our laws, our ceremonies, our songs, of the names of our ancestors...Our ancestors live today as long as we pass it down to our children.”
Bruce subiyay Miller, Community Spirit Award recipient

Emily Dickinson couldn't have found a more perfect way to describe how so many artists and artist advocates approach the world.¹  It is tempting to give ourselves over to the rare work that fires our inspiration, and shut the door on everything else. It is often only in nurturing isolation and fringe communities that new ideas find their full flower. But there is a danger in the isolation.

March 2003, 126 pages. The Richard Driehaus Foundation, 203 N. Wabash Ave., Suite 1800, Chicago, IL 60601, and John D. and Catherine T. MacArthur Foundation, 140 S. Dearborn Street, Suite 1100, Chicago, IL, 60603

Download pdf: http://www.macfound.org/atf/cf/%7BB0386CE3-8B29-4162-8098-E466FB856794%7D/SMALL_BUDGET_ARTS_ACTIVITIES.PDF

2004, 20 pages, with accompanying DVD. La Peña Cultural Center, 3105 Shattuck Avenue, Berkeley, CA 94750, 510-849-2568, www.lapena.org

As Tia Oros Peters so eloquently states in her essay that follows, there is no particular word for art in the thousands of Indigenous languages of the world. While there are hundreds of Native American languages, the same holds true; Native Americans do not and cannot separate the importance of art and culture from everyday life. It is one goal of GIA's Indigenous People's Network to bring this important way of life to the fore of grantmakers' thinking.

August 2004, 14 pages. The Urban Institute, 2100 M Street NW, Washington, DC, 20037, 202-833-7200, www.urban.org

Download pdf: www.urban.org/UploadedPDF/311043_Arts_Nonarts.pdf