Swarthmore - Group One

The Big Canvas - Oct. 14, 2008

This group contained three males and seven females; all were Caucasian from the suburbs. One was a freshman in college,  three or four were in their late twenties or early thirties, and the rest were older than 40. All worked in the field of art with the exception of one or two participants.

Discussion was rich, engaging, and participants shared their views openly. There was a lot of energy in the group when they spoke about arts and culture being part of the conversation. They cited a need for a governing body across counties similar to the position of Philadelphia’s Office of Arts and Culture (e.g. a position needs to exist in all counties).

They felt what is needed is a “B to B” (Business to Business) kind of conversation but “artist to artist” or “art group to arts group” – but inclusive across categories – for planning and development. This would include leveraging relationships and participation, building creative economy, funding a conversation within arts community, and bringing in others (business and tourism) and those using arts/culture.

This group really liked fostering quality of community and believed there is an emotional aspect to approach #4. Everyone seems to benefit, and you gain a deeper connection to your community. In addition, they liked supporting existing art groups and creating community arts projects. While they liked #4, concern was expressed about the fact that this is volunteer based and has more to do with grassroots.  How do the Wilma and other major arts institutions get in on this?

This group believed that early art experiences for children are very important and that art should be integrated into the core curriculum. There was tension of whether to do art in or out of school. This group believed that after-school programs conducted in schools could be funded by approach #2, and they cited examples of People’s Light and Community Arts Center Mural program in Chester.

The group identified a real need for SEPTA to expand their service and have public transportation to arts and culture venues. Additionally, they emphasized that financial access to arts and culture experiences is as important as the physical access.

Common ground:

• There is something about the power of Art that fosters community.  This is something we should build on regardless of which approach we take.

• Widespread exposure to the arts for children is a valuable investment in the future and in the community.

• No matter which approach we take, we need a coordinating body that is inclusive across region, audiences, and stakeholders.  It should not be limited to “mainstream” artists, audiences or stakeholders, but include the full diversity.

• Identify the audience and stakeholders and figure out how to connect.

• Communication is important and needs to be expanded and built on.

Insights or action steps:

• There is a need for a more inclusive conversation among Arts and Culture organizations/Business/artists/etc and different counties.

• There was a lot of enthusiasm about SEPTA, Delaware Valley Regional Planning Commission and Arts and Culture all working together (including Universities and Colleges across all five counties).

• The group identified a challenge which is the rivalry/competition between Phila vs. suburbs; big venues-small venues.  They believed that approach #3 must benefit suburbs Arts and Culture organizations and there needs to be reciprocity. 

• They believed the Philly Fun Guide is good and sortable and most participants in the group appeared to make good use of it, even though they believe that people attend arts & culture events now by “word of mouth.”

• Organize a College Access Day (free access to arts and culture events and transportation) that would be fun and geared toward young folks.

• An idea arose to train content area teachers so they understand the importance of art in curriculum and use arts as a teaching tool across the curriculum. 

• Atlanta symphony funded by individuals to support private lessons by orchestra members.

• Discounting tickets will place a greater strain on art venue budgets.

• Regional cooperation and collaboration is needed in approach #3.

• The intrinsic value of arts and culture is not enough to get money or funds.

• Parents have to be invested if art programs are outside the school and their participation is needed so approach #2 cannot be focused only on kids.

Quotes:

• How does Approach #2 help art institutions now?

• What is the role of the artist in relationship to business/or a corporation?

Tensions to be resolved:

• How do we expose this outside the region?

• How do we address the individual artist?