The FY 11 Arts Budget: Is My Hair On Fire?

There is concern about the state of arts funding in D.C., including the potential for a tax on live performance. Policy-makers must find money to preserve social services, and it’s reasonable to be concerned. The arts are frequently pitted against social services in funding battles. However, due to regular and informed advocacy over the last 48 months, it seems likely that the arts will not be cut further.

The Safety Net for the District’s most needy was a major issue in last year’s budget deliberations, and it remains a major concern this year. The budget fight happening in the District is mirrored in similar fights across the country. The Americans for the Arts are tracking budget debates nationwide, and they recently shared an article which noted,

“Children’s welfare supporters faced off against art advocates in Sacramento because of a proposal to spend a half million dollars on new exhibits at the future Crocker Art Museum…. ‘We’re in a crisis. We’re in a situation where kids are going to die,’ child advocate Bob Wilson said.”

That terrible crisis occurring within California’s budget battle highlights two things: that the most important social service politicians can provide – long term – is sound fiscal policy; and that the biggest mistake arts advocates can make right now is to turn a blind eye to the most needy. Arts advocates must speak out to preserve arts education, arts investment, and public art. But we should also be fighting for affordable housing, meals for the homeless, and education. Because we are in a down economy, it is critical that arts advocates take the time to inform themselves, and participate in these discussions intelligently. As Senator Daniel Patrick Moynihan said, “We’re each entitled to our own set of opinions, not our own set of facts.”

The proposed FY 11 budget includes a 10% cut for the arts this year, which is in line with general reductions in development spending. Due to no fault of their own, many city Safety Net programs have been decimated by the economic decline, including, as an example, low income housing. The Housing Trust Fund, which supported affordable housing for the most needy in the District, had grown over the last decade based on a dedicated appropriation allocating15 percent of deed recordation and transfer taxes (from sale of real estate) to the fund. But when the market crashed, and people stopped buying homes, the fund also crashed, and money for low-income housing projects disappeared.

Policy-makers have to find new revenue streams because money for existing programs has disappeared. Last year, the council took a number of steps, including: DC’s general sales tax rate was increased from 5.75 percent to 6 percent; The Cigarette tax was raised from $2 per pack to $2.50; The Gasoline tax was raised from 20 cents per gallon to 23.5 cents, matching the rate in Maryland, and revenues from the tax were moved from DC’s highway trust fund to the city’s general fund. With all of the things they did do last year, there were a number of things that they considered, and did not do. One example is a tax on live theater performances.

In some ways, a ticket tax would make sense. Last year, Ed Lazere, Director of the DC Fiscal Policy Institute, wrote a post in Greater Greater Washington, suggesting that the city should impose a theater ticket tax. He noted, “If you go to an event at the Verizon Center or a Nationals game, the ticket sales tax is 10 percent. Movie tickets are taxed at the basic rate of 5.75 percent. But people who buy tickets to theater performances — plays, musicals, opera, dance, etc. — don’t pay any sales tax at all.” Ed was one of the people responsible for securing the housing trust fund appropriation mentioned earlier, and is a respected voice in public policy considerations.

When the DC Advocates for the Arts visited with Councilmember Kwame Brown last year protesting arts funding cuts, his staff discussed the possibility of a dedicated tax for the arts generated from a ticket tax. Before the bill could even be introduced, however, arts businesses, already completely strapped by the down economy, were successful in convincing policy-makers that the proposal would actually reduce total revenues. (A tax would effectively make ticket prices more expensive, and this could affect number of tickets sold.) This year, again, council members want to raise revenue so that they can save programs. So again this year, a lot of ideas are being floated, including the same theater tax idea. Given that it’s election season, it’s unlikely that arts interests will be completely ignored to raise a small amount of tax revenue. The DC Advocates for the Arts will keep you informed as the budget debates proceed, and we hope that you will participate to whatever extent you are able.

Romeo and Juliet (and their friends) are on Twitter: Even Better Than The Real Thing?

Picture 1Little bit like New Coke, but having grown up with the story — from the stage play to the Decaprio/Danes film version — I find myself really enjoying seeing these characters bob in and out of my twitter feed.

I became aware of the project, which is a collaboration between the Royal Shakespeare Company and Mudlark (which produces entertainment on mobile telephones), by the New York Times piece, “Such Tweet Sorrow.” CNET’s coverage has an even better title: “Romeo and Juliet Now Killing It on Twitter.”

Here are a few sample tweets from @julietcap16:

https://www.youtube.com/watch?v=o9Z8qY_0EPw dont be too mean! I have a cold and… im so embarrassed.. but yeah here it is. Song number 1 x

I just wanted to preach to the twitter world, my love for my sister @Jess_nurse 🙂 She is the best sister in the world! Mum would be proud!x

@LaurenceFriar haha i love it! This is definite retweet material! You’ve set a high standard i must admit 🙂 x

shut up @Tybalt_Cap you have no choice!!! Xx

RT @why_so_random: @julietcap16 should so make @Tybalt_Cap dress up as a fairy princess! 😛

Have no idea what this is doing for actual sales, or actual arts education. This is quite different from a film version. It’s like the dvd extras on a film. It’s new media enriched. It’s new coke. Better than the real thing? No. But part of the value of art is the simple experience, and this project has actually managed to bring Shakespeare – in an oddly unselfconscious way – into my daily life.

The Instant Ballerina

taglioni-4I spend some of my free time researching in dance history, and wrote this piece for myself/Bourgeon a few years ago. It’s about a single transformative year in the life of Marie Taglioni. It’s now reprinted on Dance Enthusiast, which you can see here, and here’s an excerpt.

“Despite the advantage of possibly the best training in the world, at the age of sixteen Marie’s ability remained hidden. Coulon, as reported in the Paris Opera Director Louis Veron’s Memoirs years later, evaluated Marie in 1820 as “la petite bossue” (the little hunchback), in full remarking, “When will that little hunchback ever learn to dance!” And yet just two years later, in 1822, Marie debuted successfully in Vienna. Considering the Taglioni phenomenon is illuminating in part for the understanding she provides of what one has to give – and be given – to transform oneself from hunchback to Sylphide.

The instant creation of a ballerina occurred over the course of the year 1821. During this year Filippo trained Marie privately, in Vienna, guiding her through three classes a day. Sophie Taglioni is critically responsible for her daughter’s accomplishment, as it was her actions that necessitated her husband’s extreme, and hands on, training of their daughter.

Filippo did not live with the family in Paris. The couple exchanged regular letters, in which Sophie detailed the progress of their progeny in Coulon’s classes (her younger brother Paul, who would become her partner for much of her performing career, was also a ballet student at the Opera school.) For years Sophie sent letters to her husband greatly exaggerating Coulon’s assessment of Marie. Filippo was finally so motivated by the lies that he arranged for his daughter to debut, in January of 1822 in Vienna. Sophie was grief-stricken upon receipt of her husband’s ‘debut’ letter, knowing full well that her child would be ridiculed, and her husband rebuked. Following receipt of the letter Sophie ran to Coulon for advice and received back: ‘You wish for my advice? You have it madame: You should make your daughter an embroidress, for she will never be a dancer!’

Filippo must have suspected that the reports of Marie’s progress were artificial, as he arranged for his daughter to travel to Vienna a full year prior to her performance. Upon arrival her father gave her a private class, so that he could assess what needed to be worked on in the months prior to the debut. According to Marie’s memoir, after sitting silently for a few moments he informed her that she must be prepared to work harder than anyone had ever worked. All evidence points toward the fact that Monsieur Taglioni was not speaking hyperbolically. With full understanding of the many strengths required of a ballerina, it seems clear that in one year Filippo forced Marie to transform herself from Bossue to Ballerina. Sequestered in apartments at a distance from the theater, Filippo hid Marie – and her dancing – prior to the debut. Somewhat miraculously, the reviews were positive, though not glowing…. ”

(C) Robert Bettmann, 2010

Again, read the whole thing on Dance Enthusiast, here.