The Role of Collaboration to Encourage Civic Engagement through the Arts

2017 ◽  
pp. 476-498
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

The Role of Collaboration to Encourage Civic Engagement Through the Arts

2019 ◽  
pp. 539-561
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

Normative justification for public arts funding: what can we learn from linking arts consumption and arts policy in Israel?

2018 ◽  
Vol 18 (1) ◽  
pp. 193-213 ◽  
Author(s):  
Tal Feder
Keyword(s):  
Public Funding ◽  
State Intervention ◽  
Arts Organizations ◽  
Arts Funding ◽  
Arts Policy ◽  
The Public ◽  
The Arts ◽  
Using Data ◽  
Normative Justification ◽  
The Relationship

AbstractThis article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.

scholarly journals FINANCE MANAGEMENT IN ARTS ORGANIZATIONS IN BULGARIA

2019 ◽  
Vol 7 ◽  
Author(s):  
Vesela Kazashka
Keyword(s):  
Financial Management ◽  
Small Scale ◽  
Arts Organizations ◽  
Finance Management ◽  
The Arts ◽  
Art Organizations ◽  
The One ◽  
And Control ◽  
Goals And Objectives

Arts organizations are a major factor in the Bulgarian economic. Good management of Art  organizations  is also associated with good financial management and control in order to achieve their  goals and objectives. The delegated budgets, the small scale of most of the Arts organizations, are a prerequisite for saving money or imposing the appointment of a financial controller. The lack of such a specialist in turn leads to poor control, inefficient spending of funds, violations and failure to verify costs, which can sometimes lead to bankruptcy. The objective of the report is two-sided - on the one hand, preventing the repetition of mistakes perceived as unsuccessful practices and, on the other hand, emphasizing the place and role of controlling the financial execution of a project and its importance for optimizing the effectiveness of the implementation as well as in the overall activity of Art  organizations.

Arts Funding: Growth and Change Between 1963 and 1983

1984 ◽  
Vol 471 (1) ◽  
pp. 144-157 ◽  
Author(s):  
KENNETH GOODY
Keyword(s):  
Government Support ◽  
Service Organizations ◽  
Arts Organizations ◽  
Arts Funding ◽  
Short Term ◽  
Corporate Giving ◽  
The Arts ◽  
Corporate Foundations ◽  
Growth And Change ◽  
Corporate Support

Between 1963 and 1983, not only was there a tremendous growth in the amount of money given to the arts by foundations, corporations, and government, but a substantial shift in the mix of these funds as well. While corporate support has remained a solidly important source, government funding has become increasingly important to the arts as foundation support has become less so. Given the dependence of arts organizations on these sources, the range of focus and purpose of their programs and their expectations for the future are important. A survey of private and corporate foundations and corporate giving programs highlights the hesitation of both of these groups to support artistic projects directly, experimental work, or newly established organizations. Additionally, both foundations and corporations have become more likely to fund administrative projects and arts service organizations. This range of focus of government support is very broad, but the purpose of this funding has been controversial. The short-term future of arts funding does not appear as dim as recently expected, and may bring increases.

My Taxes Paid for That?! or Why the Past Is Prologue for Public Arts Funding

2013 ◽  
Vol 46 (01) ◽  
pp. 74-80
Author(s):  
Dana Michael Harsell
Keyword(s):  
Public Funding ◽  
The United States ◽  
Current Debate ◽  
Arts Funding ◽  
Fiscal Discipline ◽  
The Past ◽  
The Arts ◽  
Arts And Culture ◽  
Balanced Budgets

AbstractRecent efforts to cut public funding for the arts and culture sectors in the United States are couched in the need for balanced budgets and fiscal discipline. Lawmakers who support cuts question whether artistic pursuits such as “cowboy poetry” or artistic endeavors that offend or shock some viewers are an appropriate use of public monies in a depressed economy. While the current debate is grounded in a need for balanced budgets and reduced deficits, long-standing unresolved legacies fragment arts and culture policy and leave arts and culture funding vulnerable to additional cuts. The normative implications for the role of the arts and culture sectors in a democratic society need to be considered.

Supporting the Arts in the Eighties: The View from the National Endowment for the Arts

1984 ◽  
Vol 471 (1) ◽  
pp. 84-88 ◽  
Author(s):  
FRANCIS S.M. HODSOLL
Keyword(s):  
Active Role ◽  
National Endowment ◽  
Arts Organizations ◽  
Private Giving ◽  
Highly Active ◽  
The Arts ◽  
Private Citizens ◽  
Private Support ◽  
Development Of Partnership

The federal government's direct involvement in funding the arts has come relatively recently in our nation's history. The National Endowment for the Arts was established to this end in 1965. Local private giving to support the arts preceded the Endowment and continues as the principal factor. The federal government's role, intended to complement the highly active role of private citizens, provides national recognition that the arts are vital to the nation. Within the context of America's private giving, the National Endowment for the Arts has a number of specific tasks in support of the arts, which will be particularly important in this decade—a time of major economic and demographic change. The Endowment's six-part strategy for the 1980s encourages (1) longer-term institutional support for arts organizations; (2) projects that advance the art forms or bring a diversity of arts to broader audiences; (3) better management and planning by arts institutions; (4) development of partnership among public arts agencies; (5) greater private support; and (6) linkages among systems of arts information.

scholarly journals Government Imposition of Sustainable Business Practices in the Arts: A Saving Grace?

2009 ◽  
Vol 3 (1) ◽  
pp. 20-32
Author(s):  
Brigit M. Knecht
Keyword(s):  
Business Practices ◽  
Arts Organizations ◽  
Arts Funding ◽  
Sustainable Business ◽  
Efficient Operation ◽  
Non Profit ◽  
The Arts ◽  
The Face ◽  
Sustainable Organizations ◽  
Best Business Practices

The paper examines how the Alberta Foundation for the Arts has prioritized economic measures of sustainability and best business practices by including economic language and demands into arts funding applications. Analyzing ten years of granting documents from the Alberta Foundation for the Arts the research explores how the gradual inclusion of business language increases the demand on arts organizations to operate as sustainable organizations. The paper also considers how the very imposition of economic priorities onto non-profit arts organizations may, ironically, be the saving grace for such organizations in the face of global economic crisis. Forced to operate under the rigid fiscal demands of granting programs, arts organizations in Alberta are accustomed to efficient operation with limited resources. Therefore they may actually be poised to weather the economic storm better than other arts organizations in Canada.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

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