Does DC Need Arts Advocacy?

Bill Wilson and Ebby Thacher, founders of AAI am the chair of the DC Advocates for the Arts. I REALLY care about the arts. The studio – the dance studio – is the place I feel most at home in the world. I believe in the arts, because they are my home. But you don’t make much money in the dance studio. You support the dance studio time (mostly) outside of the studio – through grants, commissions, performances, and teaching. That money… it’s hard to get.

I’ve gotten really involved in arts advocacy, in part, because I believe in myself. Advocating for the arts en masse has been a way for me to defend my own choices. But at this point I’m uncertain what I’m fighting for. Funding is the only issue I’ve been able to get people to talk about regarding Arts Advocacy. Not priorities in funding, not efficiency in funding, just funding.

I believe DC does need arts advocacy. But not to advocate for funding. Due in no small part to the granting programs that spend the money, over the last ten years there are a larger number of mid-sized organizations drawing funding with professional development staff, and the stream of small orgs and individual artists stays constant. Nobody talks about patronage, cause it doesn’t serve them to do so, but there is a reason why more money is spent in NW DC, and the reason is the relationships that exist. Not the quality of the artists, or the possibility for arts businesses. Collegial support systems develop between staff, consultants and arts administrators, and no rules exist to manage those relationships toward the public good. Arts businesses are just businesses.

This city has – per capita – a very large arts scene, as appropriate to a locale where a major revenue stream is tourism. But how do we efficiently ensure that every child receives real arts education? How many stable mid/large sized organizations should the city be supporting? How can funding programs really encourage the kind of art that will best serve this city? What categories of art do we need to encourage to best serve this city? How can the arts leverage community development? How can we maximize government investment in the arts for revenue growth?

We cannot expect politicians to actually be experts on everything under the sun. Advocates must inform and educate themselves so that they can contribute to the dialogues, and pressures, which politicians manage on a daily basis. Does dc need arts advocacy? Yes. Because the politically expedient decision and the right decision are sometimes two different things. We might wish that arts business leaders would selflessly contribute to open ongoing intelligent policy discussions, and the needs of the city. But perhaps it’d be better to plan within the reality that exists, and build a broad, participation-driven advocacy organization.

Finished a good full draft of All Good Men; ready for the cast

I’ve been sitting up, watching Independence Day in the background (on A+E), and working on the script for All Good Men. As earlier posts reveal, I’m adapting a script for use as a dance theater project. I’m terribly behind in my schedule, but don’t doubt it’ll get done. I’ve done this before… I had a company from 2001-2003, and made full evening length shows in a little over three months. Twice! I think these twenty minutes of dance won’t be too burdensome to complete by July.

The script, the frame, for the dance, is this story written by Dylan Thomas. I just finished placing in the dances, agreeing on almost all of the music. Here is the final scene – the Doctor speaking to his students for the last time:

To think is dangerous. The majority of men have found it easier to droop into the slack ranks of the ruled. I beg you all to devote your lives to danger; I pledge you to adventure; I command you to experiment. [slowly]

I have attempted to teach you the dignity of man: to think. But to think…. is to enter into a perilous country, colder of welcome than the polar wastes, darker than a Scottish Sunday, where the hand of the un-thinker is always raised against you, where the wild animals, who go by such names as Envy, Hypocrisy, and Tradition, are notoriously carnivorous, and where the parasites rule.

Pay no attention to the mob. Remember that the louder a man shouts the emptier is his argument. Remember that the practice of Anatomy is absolutely vital to the progress of medicine. Remember that the progress of medicine is vital to the progress of mankind. And mankind is worth fighting for: killing and lying and dying for. Forget what you like. Forget all that I have ever told you. But remember that.

Independence Day is now at my favorite part — the speech that the ‘president’ gives before leading the troops into the final air battle. Bill Pullman as the President in Independence DayOddly enough – he says: ‘we will not go quietly into the night!’. Which is theft of a Dylan Thomas line: “Do not go gentle into that good night”.  I realized a while ago that the theme played by Bill Murray on the piano in Groundhog Day is actually a variation by Rachmaninov. Apropos of nothing…

I wonder which part of this project I’ll perform. As President Bill Pullman just said: “I’m a combat pilot, bill. I belong in the air.”  I know one of the smaller parts is best for me… I’m thinking I’d like to play either the student or the Doctor’s assistant. Next few days will include re-recruiting the dancers and setting the rehearsal schedule.

In Praise of … Guernica

Detail from Goshka Macuga’s tapestry version of Pablo Picasso’s Guernica, on loan to London’s Whitechapel gallery.  Photograph: Dan Kitwood/Getty Images

Below is an editorial published in The Guardian (UK) on Thursday March 26, 2009. The subtitle of the piece is ‘Flailing bulls and horses show that the visceral horrors of war are not just an affront to human civilisation, but to life.’ This is the piece in entirety:

In occupied Paris, a Gestapo officer who had barged his way into Picasso’s apartment pointed at a photo of the mural, Guernica, asking: “Did you do that?” “No,” Picasso replied, “you did”, his wit fizzing with the anger that animates the piece. Work started weeks after German bombers had unleashed an early dose of Blitzkreig on the Basque town from which the work takes its name. It was first shown at the world fair in Paris, supposedly a showcase for scientific progress, but the deaths of hundreds of civilians in a small Spanish town proved technology’s darker side. As in Picasso’s cubist days, there are symbols and broken shapes aplenty, but with Guernica there is no need to decipher. The message is stark, with immediate impact. In black and white, the piece has the urgency of a newspaper photo. Flailing bulls and horses show that the visceral horrors of war are not just an affront to human civilisation, but to life. With the help of Stepney trade unionists, keen to raise awareness of Spain’s civil war, in 1939 Guernica came to Whitechapel art gallery. Next week the gallery reopens after an overhaul, and a full-size tapestry copy will form part of an installation by artist Goshka Macuga. It is borrowed from the UN, where it normally hangs outside the security council chamber. When Colin Powell was setting out the American case for war against Iraq in 2003, it was decided it would be “appropriate” to cover it up, a tale that offers a powerful rejoinder to Wildean quips about all art being perfectly useless.