July 2002, 48 pages. The Canadian Conference of the Arts, in collaboration with the Cultural Human Resources Council. CCA, 804-130 Albert St., Ottawa, Ontario K1P 5G4 Canada, 613-238-3561.
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The GIA Library is an information hub that includes articles, research reports, and other materials covering a wide variety of topics relevant to the arts and arts funding. These resources are made available free to members and non-members of GIA. Users can search by keyword or browse by category for materials to use in research and self-directed learning. Current arts philanthropy news items are available separately in our news feed - News from the Field.
September 11 and Beyond
The following is excerpted from a March 2002 interview with Susan Beresford (president, Ford Foundation) that is included in September 11: Perspectives from the Field of Philanthropy, published August 2002 by the Foundation Center, 79 Fifth Avenue, New York, NY 10003, 212-620-4230. It is published by permission of the Foundation Center.
FC: It was common in the weeks after 9/11 to hear people say that the attacks had changed everything. Did September 11 change everything?
April 17-21, 2002, Lexington, Kentucky
• A bilingual play brings together migrant workers and immigrant rights activists in a pointed comedy portraying communications and miscommunications among Anglos and Spanish-speaking peoples living in and working in one community today.
• An African American theater company performs a rollicking — but serious — romp through the cultural changes from Motown to hip-hop, from soul food to vegan, from post-60s to post-modern America.
The Rhode Island Foundation, founded in 1916, is one of the oldest and largest community foundations in the United States. It is also one of a small number of statewide community foundations. In 2000, the Foundation's assets exceeded $400 million. RIF's grantmaking areas are children & families, economic/community development, education, and arts. The arts grantmaking area has several program foci.
Last year when RAND released The Performing Arts in a New Era, (Performing Arts) the prediction that times were going to be particularly difficult for mid-sized performing arts organizations was widely quoted. It was prominent in press coverage of the report and quickly embraced as a fact by grantseekers and foundation colleagues. I was curious to return to Performing Arts and the conditions it cites for organizations in the middle, to see how they apply to readings of recent field reports for different performing arts disciplines.
"A creative economy is the fuel of magnificence."
Ralph Waldo Emerson (1802-1882)
Ralph Waldo Emerson (1802-1882)
We just returned from yet another community gathering where arts leaders sought the support of their business and civic counterparts by documenting the "economic impact" of arts spending and employment in their region.
On November 12, 2000, a headline on the front page of the Atlanta Journal/Constitution read, "Study finds Atlanta arts community trailing peers." A full-page story in Section A followed. This one headline challenged the city's cherished self-assessment as "cultural jewel of the South" and quietly affirmed the suspicions of many of its artists and cultural workers.
This is the story about the headline, the study, and the volunteer efforts of an incorporated ad hoc group that calls itself the Atlanta Arts Think Tank and that commissioned the landmark study.
Meetings are big business. Or, in other words, talk is not cheap. An economic impact study by Deloitte & Touche LLP demonstrated that conventions, expositions, and meetings generated $82 billion in total direct spending in 1994, supporting 1.57 million jobs.1 Meetings of associations and membership organizations, as opposed to corporate-sponsored events, account for the lion's share of this spending (68 percent). Many of these associations serve the arts and culture.
2000, 39 pages. Center for Arts and Culture, Washington D.C.