Not in the arts to make money? You might be privileged.

This morning's musings? Wondering about money and the arts, along with inclusion, diversity, equity, & accessibility (IDEA). More specifically wondering if the conotation of a mindset, "I'm not in the arts to make money" is a privileged one, and how that will keep us from moving the bar forward when it comes to representation in the arts, from audience to artists.

Don't get me wrong, I understand that few of us pursue this life because we "wannna be a billionaire (so frickin' bad)". But there's also the dichotomy that while artists aren't generally expected or supposed to make a living, arts administrators are. And often times, at least in the DC area, you have a majority of artists who are able to devote their time and energy to the arts because of another, often-times non arts related job, OR arts related but administratively, subsidizing their creative pursuits. But what about all those creatives that need the 2nd job to also make enough money on top of the first one, simply to surive. Because, personally I believe that if you're getting less than minimum wage for the number of hours you put in a project/production, we should start shifting the paradigm of one where artists are actually giving back all the dollar/hours that they're not getting compensated for. Mind you, I'm specifically thinking of performing arts at this point, and I apologize to my visual arts friends who's process doesn't track as well to artists rehearsal and performance schedules.

I should pause. I'm NOT saying that this is good or bad. This is simply the state of the arts right now. I guess my time at DCAYA has informed a lot of this, in terms of looking at what system level change looks like. And it starts with having the conversation. And while it can be very difficult to have objective, quantifiable conversations about the arts, I guess I'm just trying to figure out where it can start (or continue, for others that have already started it). Because if we shift how we can talk about money in the arts, then we can talk not just about how it is supported, but how the arts should be supported. It becomes easier to have the value conversation, and I believe this is going to be a conversation that will be increasingly important to have over the next four years. And this conversation will only move forward, or happen period, if artists shed their general fear of talking about money.

Finally for creatives, we seem to not use our creativity to put the time and energy to imagine and build new systems that would enable earning a living wage in the arts like we could, myself included. Because although not the same, race and class in this city are definitely and generally intertwined. And if we're not talking about class when we have these conversations about represntation, then we will always fall short of addressing the systemic roadblocks to inclusion, diversity, equity, & accesibility. At least I don't believe we will. And so if you ever say to someone, that you're not in the arts to make money, but you consider yourself a professional artist, I would say it might be an opportunity to possibly check your privilege.

With Burning Man's 2016 theme, they had a series of blogs which addressed this and started the conversation, and I'll wrap-up this post with this quote from one of the blogs:

Art and money have never been separable, but somehow the idea of talking about them together has become a great taboo. We admire “starving artists” in a way that we would never endorse for “starving teachers” or “starving firemen.” We have a notion deeply embedded in our culture that anybody who talks about doing art for the money must not be a “real” artist.

Read the rest of the blog. And let me know your thoughts in a comment.

Headlines in the Arts: On Fair Wages and Culture Wars

So I thought I'd share some recent articles I've posted on other platforms. Don't know if this will begin happening regularly, but for now, I hope you find the following articles compelling.

Hashtag Fair Wage in the Offices Near the Stage, HowlRound, 12/16/16

Recently, one of the largest non-profit theatre companies in New York City (and in North America) put up a job posting for an Assistant to the Director of Development with a listed salary of $30,000-$35,000. There were no additional benefits specified. That doesn’t mean there aren’t any, nor does this posting mean that someone will be getting $30,000 per year. It would be reasonable to assume that they are just posting the $30k scenario so that when they make an offer that’s slightly higher, the young, hungry development officer will be more likely to take the job.

Read on


‘Alt-Right’ Trolls Are Targeting DC’s DIY Music Houses, Washingtonian, 12/19/19

The Washington area has a long and mostly proud tradition of houses that lend themselves as venues for up-and-coming bands. But in the last few days, some residents of those houses have become guarded after discovering their homes’ names and addresses targeted in online message boards populated by members of the white nationalist movement known as the “alt-right.”

Read on


Trouble ahead for New York’s museums, Apollo Magazine, 12/19/19

There are few fans of Donald Trump among the management and boards of New York’s cultural institutions. Personal distaste aside, they are the beneficiaries of the trends that President-elect Trump has railed against: globalisation, and the unequal distribution of wealth that it has pulled in its train. They have been served well by the policies pursued from Bill Clinton’s presidency onward, of the liberalisation of trade and financial deregulation – policies that Donald Trump identified so forcefully during the election as responsible for the assault on middle America that he (ostensibly) and his voters (genuinely) wish to reverse.

Read on

Curious to hear what you think. Please leave a comment!

Fellow Artists: We are Worth It

From Facebook:

Here's the rest of the post, if you aren't on Facebook:

Actually found the timing of reading wonderful, as I had recently played around with some numbers I think are more common than not, for non-equity actor compensation, and flipping the switch from thinking about how much I was receiving to how much I was giving. 

For example, say two weeks of rehearsal, with rehearsing for 30 hours each week, paid $120. Not only did I calculate that the effective hourly rate was $2, using minimum wage, I went from thinking I would be making $120 to realize that I was actually GIVING $315, because that amount of time at minimum wage is worth at least $435. 

The irony is that often times the actors who are able to afford that kind of pay cut work another job that subsidize the creative one, which is a form of privilege, in a weird way. And, I guess this may be another way of saying that minimum wage in the arts is a crucial part of the diversity, equity, and inclusion conversation as anything else. 

But this is what happens when we as a society (and I put this on arts administrators) focus more on and put more value in the arts than in artists. Could you imagine an arts advocacy organization in DC that committed to affordable housing and minimum wage issues? But that would be more artist advocacy than arts advocacy. 

I think it's time to flip the script.

What do you think? Looking forward to hearing your thoughts in the comments.

The visit to Fly Ranch aka Burning Man 2.0

Fly Ranch is the next step in the grand experiment that is Burning Man.

This is not a drill.

I'm not even sure quite where to begin, when it comes to Fly Ranch. And I definitely don't want to repeat information you could easily find/read elsewhere, either about the Fly Geyser on Wikipedia itself or about how Burning Man bought Fly Ranch at their blog.

So let me start with my own visit to Fly Ranch during this year's Burn.

It was only a 10-15 minute drive from Black Rock City, once we hit pavement again. This was the first time I'd been in a vehicle since arriving on Playa several days before. It was still sinking in that I had been invited to visit this blank slate for Burning Man. I snapped myself out of it, while getting to know a Burner from San Diego who was sitting next to me.

Before I know it, we've arrived and we're off the road again, passing through a gate and pulling up to a little dirt road cul-de-sac, barely large enough for the van we'd been riding in to turn around and leave on the dirt road we'd road in on. We get out and are immediately directed to Fly Geyser and the viewing platform.

The last time I'd seen something like this was years ago, on a family trip to Yellowstone. Except this wasn't a natural formation, as the geyser was a happy accident which came about from well drilling in the 60's. I won't waste any more time about that, as you can read more at Wikipedia.

And as we head to the viewing platform, to get a closer look at the geyser, we can see a dust storm passing over Black Rock City in the distance. This was Tuesday afternoon.

The stunning and immediate (and I suppose obvious) contrast to Black Rock Desert, is the simple presence of water. This provides a fundamentally different landscape and experience, which really sunk in (no pun intended), as we made our way to one of the few swimmable hot springs.

And yes...we swam.

Water...being submerged in a body of it...after four years attending Burning Man...was glorious.

And all this time, the only thing we had been asked to do at the time was to experience Fly Ranch. To feel it. To take it in. To simply be. The questions, the conversations would come shortly.

After spending some time in the pool in the photo above, I emerged and made my way to the other pool, the one which the geyser's water flowed to. And the whole time, it's slowly marinating what a different relationship to water one has here.

In Black Rock City, the only water there is that which is brought in. Gray Water Disposal is something that every camp and Burner should have a plan for. And whatever that plan or those resources are, they need only last one week (except for those who are there before and after the event.

So at the basis of ANYTHING that happens at Fly Ranch, the very first question that came to my mind is what is our relationship with water here and what does that look like fifty-two weeks a year? What does Leaving No Trace, one of the 10 Principles, look like year-round?

Not questions I have answers to. And I look forward to seeing what options and possibilities those who know more and have experience in such matters bring to the table over the upcoming years.

What did I bring to the table? Re-imaginging what an artist residency might look like here. Why re-imagine? Because another fundamental question that came up, to inform many other questions, was how activities/projects/etc. could be uniquely informed in a way where the work could ONLY happen at Fly Ranch. Otherwise, why have an artist residency or any retreat, gathering, meeting, event there rather than anywhere else.

Sorry...I'm still trying to process that myself, and a friend who was instrumental in coordinating the visits definitely said it better.

However, as it relates to an artist residency, the fundamental question is how does the land and the relationship to the land, not even as inspiration but merely existence, then inform the work done there. And for me that speaks to a residency that might be more a reflection and refinement of process rather than the creation and production of actual work.

There were other suggestions for activities and projects, ideas about modular infrastructure and truly sustainable resource utilization that I won't try to paraphrase as they belong to others.

But as our trip wrapped up, and we finished drying off to prepare to head back into the dust, it was reiterated that this was still the very beginning of the conversation. And everyone is invited. Literally.

If you haven't signed up to participate, on the Fly Ranch website, and you want to join the discussion, do it. Because even the founders have made it clear, whatever happens here has not been done before.

So don't think about a Burn when you think about Fly Ranch. Because there are certain elements of the Burn that only work because it happens in this confined period of time. But think about the Ten Principles, think about what makes Fly Ranch different from Black Rock Desert, and think about your own regional community, when thinking about what a year-round presence could/should/would be.

P.S. There were a couple of follow-up conversations during the Burn, at Red Lightning, one of which I attended. I will be writing about that shortly, as well, so stay tuned.

My NEXT Ten Favorite Burning Man Videos

Last year I shared my ten favorite Burning Man videos. With 10 days left until That Thing In The Desert, I thought I'd compile a list of 10 more!

So here they are, not in chronological order this time. And if you'd like to watch them all in a row, if you've got about an hour and two minutes, you can scroll straight to the bottom to view a single playlist of all 10.

Thought I'd start this out with the kids!

   

Followed by this one kid taking his parents. This is actually a trailer for a documentary.

 

Up next is THE stage for live music on the Playa, Crossroads!

 

Then check out a marching band that's out of this world.

 

Here's a performances at Glamcocks, one of the major camps in the Gayborhood.

 

And here's just a fun video of Burners dancing.

AND another fun video of Burners dancing.

 

For something different, this is Italian ice figure skater and Bonze medalist Carolina Kostner presenting a performance in memory of a friend who had passed.

This is a video from my second year at Burning Man, when I joined the Playa Choir. Watch from 10:45 to 14:45 for a pretty cool cover of "Defying Gravity".

 

And what would a list be without a video from Stefan Spins, as I wrap up this blog the way last year's started. Check out his video from last year.

 

And IF you'd like to see them all in a row (as mentioned at the top of the post), you can do so at this playlist below.

Together in Song with Orlando

While I don't sing with the Gay Men's Chorus of Washington anymore, I couldn't be prouder of my chorus brothers in Washington, DC, and from around the country. Wanted to share these.

From Orlando:

From Washington, DC:

From New York City:

I can't think of a better way to remember and honor those whose voices have been silenced, than by gathering together in song.

My statement at DCCAH's May Commissioner meeting

This week, I signed up to make a statement during the public comment portion of the DC Commission on the Arts and Humanities monthly commissioner meeting. The public comment period is a 30 minute slot for up to ten individuals or groups to have several minutes and speak directly to commissioners, on behalf of associations, organizations, or simply themselves.

While it is not a dialogue, it is an opportunity to literally have a voice at the table, and have your comments captured in the official and public minutes. Normally time is limited to 3 minutes but because of the low number of people who had signed up to testify, so to speak, I was allowed up to five.

Not one to want to waste time, either the Comissioners or mine, I wrote out and practiced my comments, regularly clocking in at about four minutes and twenty seconds. And so I wanted to share them:

Hello. For those of you who don’t know me, my name is JR Russ. I worked here at the Commission first as a Grants and Legislative Affairs Assistant; then as a Grants Co-manager for the Artist Fellowship Program, with Regan Spurlock; and finally as the Online Marketing Manager, working with Jeffrey Scott and Teresa Boersma, up until last summer. And while I would love to be back working with Mr. Scott and Ms. Boersma or most anyone else here, it is nonetheless a treat to be back not as staff, but simply a DC artist, resident, and native. I actually grew up at 605 G St SW, where my parents still live, just about 8 blocks to the west. 

Whether you knew me before today or not, I thought I’d just share a bit about myself first before getting to my request. Born and raised in DC, my first artistic endeavor was as a professional boy soprano, singing at the Washington National Cathedral. My pinnacle experience there was singing at Justice Thurgood Marshall’s funeral, back in 1993. 

I went on to become involved in theatre in high school where I was president of the Drama Club, and ended up going to the University of Maryland College Park, as a dance major. After graduating I would go on to work on and off stage at various dance and theatre organizations in the metropolitan area, from teaching at City Dance to managing a Discovery Theater tour, from being a part of the Atlas Performing Arts Center’s opening season performing in the Washington Savoyards’ Kiss Me, Kate, to dancing in Bodies in Urban Spaces a site-specific public art dance that would lead audience members throughout Chinatown to end up at the Harman Center for the inaugural VelocityDC Festival. 

And as I seemed to get pulled into more of the admin work as well, I ended up pursuing my M.A. in Arts Management from American University, where my thesis was on how working performers in the DC area defined arts advocacy and community. Since then, I’ve explored my own artistic voice and vision, having produced shows at five of the last six Capital Fringe festivals, with another show on the way this summer where I’ve committed to providing ASL interpreters for three of the six performances. And I endeavor to find other ways to be an active & engaged participant in our local community, from serving as a member of the steering committee for the Emerging Arts Leaders DC to being the first one to move into the Brookland Artspace Lofts five years ago. 

Current affiliations include being an artistic collaborator with dog & pony dc, a board member of Story District 5 years going on 6, as well as one of Dance Place’s newest board recruits. Oh yeah: and Burning Man. Upcoming projects other than Fringe include being a judge for Capturing Fire’s Queer Cookie Slam, facilitating an arts advocacy session at Now Next Dance’s First Leadership Symposium at the Dance Loft on 14, and being in Synetic Theater’s remount of Twelfth Night this summer. 

My current day job is actually my first non-arts job in ten years: I’m the Communications and Development Manager at the DC Alliance of Youth Advocates. An organization that’s been around for over ten years, we have about 150 member organizations, many of which are arts organizations or community-based organizations with arts programs for youth. 

But the takeaway for me there has been learning what I can from an organization that is VERY effective with its youth advocacy, and seeing what I can bring back to arts advocacy in DC. Being here, talking to you, is just a part of that. And I hope, in sharing my own work before, outside of, & after my time at the Commission, you understand both the breadth & depth of my experience with, passion for & dedication to our arts community. 

And so the main reason, my main request, for coming here today has to do with the current strategic plan. Since it’s been posted on the website last September, I noted it’s only been mentioned five times at Commission meetings, according to the minutes. And while this is certainly understandable, as there’s been a good bit of transition since it was posted, if possible I would ask for the following, which you might already be planning to do anyway. 

There are a lot of great priorities and strategies in the strategic plan. It would be wonderful if, at one year in, the Commission could share some kind of status report regarding what’s been accomplished. It certainly doesn’t have to be comprehensive and practically can’t be. But at the very least, I’d  say an update on all the strategies identified as priority one would be ideal. Anything less would be questionable. 

Your strategic plan’s theme is “leadership beyond grantmaking”. And you have a great roadmap in your strategic plan for “communications beyond programming”. Because I’m not asking you to just share an update with me, but to do so proactively and publicly. 

In sharing the plan within even just my own networks, there’s been a lot of positive feedback to the strategies outlined, but cautious concern about actual implementation or execution. The negative optics and perception (real or imagined) of if just sitting on a shelf for the next five years could be easily counteracted by simply keeping the community updated as progress is made. Thank you for considering this. And thank you for your time.

That's it. Not an unreasonable ask, I thought. And Chair Kay Kendall actually reassured me that even before my statement, it was her intent to make sure that the strategic plan was also being used and not just collecting dust. In fact, she was already planning to regroup with her leadership soon, also reasonable in terms of not having happened sooner, as DC Council budget hearings, which just ended earlier this month, do take up a lot of bandwith for any city agency.

And so I wanted to share not just so you could see what I read to Commissioners, but to hopefully give an idea of what one could share themselves.

I would urge strongly not to use this opportunity as a grievance session to blame, accuse, or guilt Commissioners regarding often times perceived but false inequities. Which isn't to say that there aren't inequities which affect some arts organizations and the communities they serve, but the grant application and review process is not one of them.

For a couple of examples of what I would recommend NOT doing, you can check out the Commission meeting minutes from October 22, 2015. I can provide a further breakdown of some of the specifc reasons why. And not that you can't speak about your own work either individually or with your organization, but ultimately the Commissioners can only take whatever you have to say within the context of the larger DC arts community as well as the bigger picture of the work and programs of the Commission. There's very little they can do "fix" whatever you think the problem is with your particular situation.

And here are a couple of final suggestions. When sharing challenges provide systemic solutions, not ones specific to your own individual situation. And when possible share gratitude for the things that do work well, in terms of the work the Commission does to support the DC arts community through its programs.

Because having been on the other side of the table, it's often a thankless job for Commissioners and staff, with the squeeky wheels in the community often being the loudest.

What's in DCCAH's Strategic Plan for DC Artists?

Just wanted to pull out the explicitly artist related content, versus arts organization material which has more of an indirect effect on artists, from the DC Commission on the Arts and Humanities Strategic Plan, preceded by some of the introductory copy to help put the artist content in context. This strategic plan was updated and published September 12, 2015 (just about 8 months ago), presumably to begin implementation in FY2016 that following October.

For the bulleted strategies, the number in parentheses is indicates the priority of the strategy, from 1 to 4.  Brackets contain how many total sub-strategies are identified in the actual document. The following is directly extracted from the strategic plan:

---

In 2014, Cultural Planning Group was engaged by the DC Commission on the Arts and Humanities to assist with the development of its new strategic plan.

Over a period of one year, Cultural Planning Group led an inclusive process to receive input from stakeholders and the public at large, conducted a comprehensive review of agency practices, and researched best practices from model agencies elsewhere in the United States.

The Plan: Strategies 

1. GRANT MAKING
2. ARTS EDUCATION
3. BUILDING COMMUNITY
4. POLICY LEADERSHIP
5. EQUITY AND ACCESS
6. PUBLIC ART

Key Findings

Stakeholders provided remarkably consistent messages to the Commission. They believe that the Commission is filling an essential role, and doing an effective job, as a grantmaker. They also consider it time for the Commission to expand its leadership role as an advocate for cultural development in the District. Stakeholders strongly support and urge Commission to take on a larger, visionary and more proactive leadership role. They describe an arts and culture sector that is large, creatively vital and often overlooked. The field is also beleaguered by the forces of gentrification, increasing social and economic disparity, and the stresses of sustaining a nonprofit organization or an artistic career. These challenges underscore the need for redefining leadership for the agency. It is based on widespread acknowledgment of the leadership platform the Commission possesses. This approach was affirmed in a subsequent Town Hall discussion with stakeholders to share draft strategies.

Where should the Commission direct its leadership? It can leverage partnerships inside and outside District government more strongly with an intentional and transparent strategy to accomplish objectives of recognized value to the community. Objectives include addressing a range of needs for 

affordable spaces repeatedly identified in this and other plans. Also, addressing systemic change in K-12 arts education, promoting artists’ entrepreneurial activity, and serving under-served populations in neighborhoods east of the Anacostia River and elsewhere in the District.

Mission and Vision Statements

The Commission’s mission and vision statements were reviewed and revisions

developed that reflect the concepts of this plan.

Our mission is to serve and advance the diverse cultural interests of the residents and workers of the District of Columbia. We believe in the power of the arts, humanities andthe entire creative sector of the economy to enliven and strengthen our communities. We focus our efforts on the nonprofits arts community, individual artists and creativeentrepreneurs, the humanities field, and decision-makers. We provide support through funding, programs that address gaps, and educational opportunities and we provide leadership through policy, innovation initiatives, knowledge and connections.

Vision Statement

The Commission enhances the quality of life and economic well being of DC residents by nurturing DC’s artists and cultural institutions and by fostering the conditions where creative enterprises can prosper.

1. GRANT MAKING

Invest in Excellence and Access to strengthen DC’s creative sector of nonprofits, individual artists and creative businesses.

At the core of the Commission’s work is is grant programs and focus on supporting the vibrant artists and cultural sector in the District of Columbia as part of its unique and thriving creative economy. Encompassed in that sector are the non-profit organizations in arts and humanities who are the primary producers, presenters and suppliers of programs and activities. The numerous grantmaking programs and initiatives account for nearly two thirds of the agency budget and reach into and across all eight wards of the District. Hundreds of nonprofit arts and humanities organizations, individual artists, partner organizations and project partners are recipients of Commission grant funds.

This section of the plan expands those traditional constituencies to include other participants in the broader creative economy. In particular are strategies that build on the District government’s creative economy plans and additional ways in which the Commission can invest to support creative activity. The Commission can play a critical role in marshaling the resources needed to address the question of artist space needs, leveraging relationships inside and outside District government. 

The Commission also intends to provide professional development services. With a focus on artists as small businesses, operating to generate a profit from their creative activities, the Commission can provide artists with registration and forms for DCRA and provide workshops on marketing and writing an artistic statement.

Grant programs will continue to be refined to respond effectively to specific issues in the changing arts and humanities sector. In FY 2015 there are 10 distinct grant programs, ranging from general operating support, to arts education, to artist fellowships and a focus East of the River.

Creative Sector Strategies

• Grantmaking [4 total strategies]
• (1) Ensure greater cultural diversity among artists who serve on grant panels.
• Supporting Artists [3 total strategies]
• (2) Create an ongoing program of artists’ engagement in District government, involved as on-call artists to provide design advice for all departments, including general services, public works and transportation.
• (1) Actively recruit professional artists to apply for service on City boards, commissions and other policy-making bodies.
• (2) Invest in professional practices training and workshops that help artists in creative development and professional development. This may be through programs developed directly by DCCAH or through augmenting existing programs by providing resources to partners and programs focused on professional development for artists.
• Creative Economy [3 total strategies]
• (1) Revisit and reassess the recommendations of Creative Capital: The Creative DC Action Agenda and the Creative Economy Strategy Plan to identify specific priorities for action, such as meeting the space needs of artists, providing entrepreneurial training and networking for artists, and providing financial support for entrepreneurial projects.
• (3) Partner with the Department of Consumer and Regulatory Affairs to streamline the permitting process for artists and creative businesses.

[The following don't have artist specific strategies]

• Community Wide Arts Marketing [ 1 strategy]
• Humanities [1 strategy]
• Partnerships [ 2 strategies]

2. ARTS EDUCATION

Promote Systemic Improvement in pre-K – 12 Arts Education

[4 strategies]

3. BUILDING COMMUNITY

Facilitate creative placemaking to address the space needs of the creative sector.

It is important to distinguish placemaking and community development from economic development. Economic development focuses on the standard of living, financial returns and job growth. Community development is more inclusive, centered on place: city and neighborhood. Similarly, the goal of creative placemaking is improving the vibrancy of place, as a means of improving quality of life. The arts can play an essential role in this broader community development agenda. They can promote inclusiveness and a sense of belonging. They can bring diverse peoples together. They can add vibrancy and a sense of specialness to a neighborhood.

The District has a number of tools and resources it can utilize to support creative placemaking. The District has access to a number of vacant and  underutilized buildings, including schools that are no longer needed. The District has funding to support capital improvements. The District is in a position to negotiate with private developers to include the amenities that will support placemaking, including such elements as affordable artist/creatives live-work spaces. It has the potential to provide financial and other incentives to make these things happen, particularly if the various District departments combine their resources. The Commission already has a program to provide cultural facility grants of up to $100,000. These grants could be used to provide matching dollars for nonprofit capital campaigns related to creative placemaking (arts facilities, arts elements of public spaces), as well as to incentivize for-profit developments with support for arts and cultural uses.

Placemaking Strategies [ 7 total strategies]

• (1) Set a goal to construct up to 1,000 live-work spaces for artists and other creative professionals within the next five years, working with the Housing Trust Fund, nonprofit developers such as Artspace, Inc., and with private developers and utilizing such facilities as surplus schools.
• (4) Develop a clearinghouse of affordable living and working spaces for artists in the District, including maintaining an inventory of vacant City-owned facilities that might be converted to artist spaces (studio, performance, workshop, rehearsal) on a temporary or permanent basis.
• (4) Explore the potential for creation of artist co-working and maker spaces, similar to the co-working spaces that have been established for tech start-ups.
• (3) Conduct a comprehensive review of City zoning and permitting regulations to eliminate regulatory barriers to live-work, home studios, home studio sales and other artmaking activities.
• (2) Identify opportunities for arts assets in private development projects, especially in underserved neighborhoods, providing a creative center of gravity for the neighborhood. 
• (1) Consider a program of “creative pop-up spaces,” dedicating a vacant land and buildings for the purpose of facilitating and funding artists and cultural groups to activate the spaces on a temporary basis.

4. POLICY LEADERSHIP

Provide cultural policy leadership.

Creation of a “policy shop” within the Commission, with a broader mandate, could establish the agency’s leadership in activating the full resources of the District government and selected partner entities to address critical issues pertaining to arts and cultural development in the District. On an annual basis, the Commission could identify one or more critical issues to which it turns its attention. Convening of stakeholders would assist in defining the issues, followed by facilitating action by District departments and partner agencies.

Several of the issues that have emerged would be appropriate initial areas for exploration:

• Artist space issues and the cost of real estate
• Creative placemaking and neighborhood revitalization
• Equity in the distribution of funding and resources
• Development of creative economy initiatives

[I decided to not include the two strategies identified because of their indirect impact on artists, in the holistic nature of the positions and their responsibilities, but thought it worth including the summary of the strategy nonetheless.]

5. EQUITY AND ACCESS

Foster greater equity and access

It is important to note that the creative industries often provide a means for artists from outside the mainstream to develop a career and to “assure their own equity” outside the nonprofit model. Hip hop and guerrilla artists are among many artists who often pursue their work in the commercial pop culture market, perhaps within a freelance career that includes work with community organizations and schools. The implication for the Commission is that by facilitating artists’ creative economy initiatives, it can foster equity simply by  enabling the entrepreneurial activities of diverse artists.

Equity and Access Strategies [ 3 total strategies]

• (3) Identify creative economy initiatives that support the entrepreneurial activities of diverse artists, such as an incubator in Ward 7 or 8 that could include a recording studio, business training for artists, youth programming/mentoring, etc.

6. PUBLIC ART

[1 strategy]

---

That's the extent of the extracted text.

Let’s recap. Here are the individual strategies in order of priority:

Priority 1

• Actively recruit professional artists to apply for service on City boards, commissions and other policy-making bodies.
• Consider a program of “creative pop-up spaces,” dedicating a vacant land and buildings for the purpose of facilitating and funding artists and cultural groups to activate the spaces on a temporary basis.
• Ensure greater cultural diversity among artists who serve on grant panels.
• Revisit and reassess the recommendations of Creative Capital: The Creative DC Action Agenda and the Creative Economy Strategy Plan to identify specific priorities for action, such as meeting the space needs of artists, providing entrepreneurial training and networking for artists, and providing financial support for entrepreneurial projects.
• Set a goal to construct up to 1,000 live-work spaces for artists and other creative professionals within the next five years, working with the Housing Trust Fund, nonprofit developers such as Artspace, Inc., and with private developers and utilizing such facilities as surplus schools.

Priority 2

• Create an ongoing program of artists’ engagement in District government, involved as on-call artists to provide design advice for all departments, including general services, public works and transportation.
• Identify opportunities for arts assets in private development projects, especially in underserved neighborhoods, providing a creative center of gravity for the neighborhood. 
• Invest in professional practices training and workshops that help artists in creative development and professional development. This may be through programs developed directly by DCCAH or through augmenting existing programs by providing resources to partners and programs focused on professional development for artists.

Priority 3

• Conduct a comprehensive review of City zoning and permitting regulations to eliminate regulatory barriers to live-work, home studios, home studio sales and other artmaking activities.
• Identify creative economy initiatives that support the entrepreneurial activities of diverse artists, such as an incubator in Ward 7 or 8 that could include a recording studio, business training for artists, youth programming/mentoring, etc.
• Partner with the Department of Consumer and Regulatory Affairs to streamline the permitting process for artists and creative businesses.

Priority 4

• Develop a clearinghouse of affordable living and working spaces for artists in the District, including maintaining an inventory of vacant City-owned facilities that might be converted to artist spaces (studio, performance, workshop, rehearsal) on a temporary or permanent basis.
• Explore the potential for creation of artist co-working and maker spaces, similar to the co-working spaces that have been established for tech start-ups.

That's it for now. Would love to hear what your questions, thoughts, suggestions, etc., so please leave a comment.

- JR

FY 2017 Budget Report for the Commission on the Arts and Humanities

With reports being posted yesterday, I just wanted to pull out some highlights from the Committee on Finance and Revenue's Budget Report, related to the Commission on the Arts and Humanities:

I. Summary

D. Summary of Committee Budget Recommendations

Commission on the Arts and Humanities

Operating Budget Recommendations

The Committee recommends adoption of the Mayor’s FY 2017 budget for the Commission in the amount of $15,534,436, with the following changes:

1. Increase Arts Building Communities by $3,000,000.
2. Increase Arts Learning for Youth by $1,450,000.
3. Increase Training and Employee Development by $30,000.
4. Increase Legislative and Grants Management by $20,000.

Policy Recommendations

The Committee recommends the following policy changes:

1. Provide updates to strategic and master plans.
2. Improve coordination with the Department of General Services.
3. Explore opportunities for jazz and the creative economy.
4. Reinstate the dedicated funding source.

Capital Budget Recommendations

The Committee recommends adoption of the Mayor’s FY 2017 capital budget for the Commission of $0.

II. Agency Fiscal Year 2017 Budget Recommendations

A. Introduction

The Committee has and will continue to support the arts through the mission of the Commission on the Arts and Humanities. The Committee remains impressed by the efforts of the new leadership at the Commission. The Committee aims to provide additional funding to the arts so that the District may adequately assist all of those within our arts community.

B. Recommendations for New Budget Support Act Subtitles

18. TITLE VII, SUBTITLE XX. COMMISSION ON THE ARTS AND HUMANITIES DEDICATED FUNDING

a. Purpose, Effect, and Impact on Existing Law

This subtitle would fix the perpetual problem of funding for the arts in the District of Columbia. This subtitle, while subject to funding, would provide that one quarter of one percent out of the current 5.75% sales tax would be dedicated to funding CAH. This revenue, estimated at around $22 million this year, would be implicitly indexed to inflation. This is not a proposal to increase the sales tax, but rather to dedicate a portion of the current tax toward arts funding, as new revenue is identified in upcoming revenue estimates by the Chief Financial Officer

The source document for the Committee on Finance and Revenue Budget Report can be found here: http://dccouncil.us/budget/2017

So...Arts Advocacy in DC

So...arts advocacy in DC. Been having a lot of great discussions with friends, peers, & colleagues. In addition to wanting to work more on the policy anlaysis side of things, one suggestion that came up was mobilizing a coalition of artists.

I believe this was partly in response to arts advocacy day and the two main arts advocacy groups in DC historically and generally having a strong representation of arts managers from instiutions and organizations (which was also clearly evident in seeing who showed up to the DC Commission on the Arts and Humanities hearing), but the individual artist voice not being as present. I know part of the challenge is that artists are often juggling a lot, and sometimes don't even know what's happening regarding arts advocacy to begin with, because most just don't have the time or energy or simply know where to start. It's also a challenge with folks who balance being both arts manager (or simply employed) once place and a working artists everywhere else.

Thought I'd put it out there. And while I will definitely be continuing my own pursuit regarding arts advocacy conversations looking at policy level issues (funding, legislation, etc.), I also wanted to gather a..."council" of artists from across the District and nearby areas. It'd be especially great to get participants representing each ward. Definitely not trying to reinvent the wheel, but thinking this group could be a way to compliment existing arts advocacy organizations and their efforts, while making sure to hold them accountable not just for the interest of arts organizations, but individual artists working and/or living in DC as well.

If you're interested, just leave a comment, along with which ward you live in (if you live in DC), or whether you're in MD or VA but still work in DC. I'll start:

JR - Ward 5

1. P.S. This is also my thesis at American University, where I got my M.A. in Arts Management, coming full circle. The topic? How working artists in the DC area defined "community" and "arts advocacy".

Regarding DCCAH's FY17 Budget

A #DCArts PSA:

Today is the DC Council's FY17 Budget Hearing for the DC Commission on the Arts and Humanities.

The numbers again (becase as of this post, it's still not updated on the DC Advocates for the Arts website)?

FY15 Actual - $14,555,386
FY16 Approved - $15,955,248
FY17 Proposed - $15,534,436

From Part 1, beginning on page 336 or B-85, here: http://cfo.dc.gov/node/289642

Of particular note regarding increases and decreases in the agency's submitted budget, and enhancements and reductions in the Mayor's proposed budget, are the following excerpts:

*Agency Budget Submission*
Increase: The budget proposal in Local funds reflects a net increase of $672,375 and 8.0 FTEs across
multiple programs. This adjustment redirects funding from budget allocations for contractual services as
DCCAH transfers certain operational responsibilities that are currently carried out by contractors to
agency employees. Additional funding is also proposed in Local funds in support of DCCAH’s
sponsorship and marketing activities, and this accounts for an increase of $257,619.
In Federal Grant funds, an increase of $7,500 aligns budget with projected grant awards from the Arts
in Underserved Communities and Arts Education grants. This adjustment supports DCCAH’s operations
in the Arts Learning and Outreach and Arts Building Communities programs. In Intra-District funds, the
proposed budget includes an increase of $93,000 to the Arts Learning and Outreach and Arts Building
Communities programs. This adjustment is based on a Memorandum of Understanding agreement with
the Department of Employment Services in support of the Marion S. Barry Summer Youth Employment
Program.
Decrease: The budget in Local funds is proposed for a decrease of $108,561, based on DCCAH’s plan to
move certain contractual services in-house, thereby eliminating the associated contractor service fees. A
decrease of $897,116 across multiple programs in Local funds accounts for reduced funding allocations
for DCCAH’s diverse range of sub-granting activities that support practicing artists, arts organizations
and community groups.
In Special Purpose Revenue Funds, the proposed budget is reduced by $300,000 to align funding with
projected revenue.

*Mayor’s Proposed Budget*
Enhance: DCCAH’s proposed budget in Local funds reflects an increase of $91,301 in funding to the
Agency Management program to support an additional 1.0 FTE that enables the agency to establish a
General Counsel position to meet its increased legal services volume.
Reduce: The budget in Local funds is decreased by $312,613 from the Arts Building Communities and
Arts Learning and Outreach Programs to account for projected programmatic cost savings in nonpersonal
services.

If you can't make it, you can still tune in and watch live here: http://dccouncil.us/videos

On Street Harrasment and Speaking Up

This is reposted from a Facebook post.

Facebook: What's on your mind?

Me: Glad you asked. If you've seen either of my last two videos, street harrassment and a culture of consent (thank you Burning Man Global Leadership Conference) are top of mind right now.

Let me just say that I personally think that we do have a right to say hello to each other in public spaces.  I'd say where the line was drawn last night is that we do NOT have the right to expect and receive a response.

Last night a gentleman didn't receive one after multiple attempts to engage a woman waiting for a cab. So I spoke up, and not for her, but as witness to her and the situation. I know women can speak up for themselves. At the same time, I can only imagine how hard it is to want to say No but not, because even THAT is a response that can actually encourage further harassment, so the safest thing to do might be to do and say nothing.

And I certainly appreciate the expression of concern from friends, and am seriously thinking about taking self-defense classes. But my concern for the lady simply feeling safe and knowing she wasn't alone trumped my own feeling of safety, not that I ever felt unsafe. We were right in front of a bar we had just exited, and staff was right inside still closing and cleaning up.

I will say while I've been accused of not being a native Washingtonian, I've never been called a "leader of gentrification" or "the biggest contributor to black-on-black crime", the latter of which I didn't even realize was potentially a veiled threat until friends asked me to simply be safe. But those and other attempted insults, including calling out my perceived sexuality, only reinforced how absurd this conversation was in the first place.

On the latter though, I found it ironic that in saying women felt safer around gay men, he implied that straight men by nature are predatory and/or don't make women feel safe...not helping his point at all.

I guess my only thought is that while silence on her part was an attempt to not engage, does silence on the part of people nearby condone the behavior, at least when in public spaces? I understand the concern for personal safety, but again, if that's what we feel as a passerby, what must the person who's the object of that attention feel. Not saying there's a right answer, but I can't stop asking the question.

Anyway, personally I will be looking more into the work of Collective Action for Safe Spaces. If you haven't heard of them, it's an organization "working to empower people in the DC metropolitan area to build a community free from public sexual harassment and assault."

And if you have your own story to share, maybe we should make a night of it, to raise awareness and keep the conversation going.

Why educating youth is NOT a waste of time

Responding on Facebook to an interview with RuPaul. Wanted to share.

So...I liked and/or loved about 97% of this. The part I didn't? His answer to: "Do you think it's important for the...
Posted by JR Nexus Russ on Wednesday, March 23, 2016

Let me know what you think.

- JR / Nexus

"Art, Money and the Renaissance" from Burning Man's blog

Check this out, a video that was posted as part of Burning Man's latest blog, Art, Money, and the Renaissance: Re-Imagining the Relationship.

One of my favorite quotes from the blog itself is:

So we’ve gone from a period where artists were hyper-aware of money, and open about it, to a period where artists talking about money endangers their status as “artists.” This would be understandable, even laudable, if artists were actually less worried about money, but since they’re not — since in fact we live in a time of profound economic uncertainty about artists and arts funding — this just won’t do.

Anyway, check it out. Would love to hear what folks think,

Nexus aka JR