The Ten Commandments of Arts Advocacy
Keynote speech by Diane Mataraza
Former Director of the NEA Locals Program
2001 Community Arts Conference, presented by Arts Wisconsin, at the Central Wisconsin Cultural Center, Wisconsin Rapids, October 6, 2001
Good Morning. Thank you Anne.
It has been very special - and a true pleasure - to be reunited with so many old friends and meet new members of the Wisconsin arts community.
September 11 keeps coming up. I don't think there is a soul in this room that would not agree with the fact that since that day, our world has changed. From those who live and work in DC and New York - to those who live in places farther away - our perspective may differ - but the impact has been profound. I think it has caused each of us to think much more about what we value. What's important, what is relevant - and what are things that once seemed so important but today, in light of recent events seem less so.
Your President Ellen Rosewell began yesterday's session talking about the need for the healing power of the arts. It was a message that echoed again and again throughout the day. One of the most poignant and powerfully stated examples I can share about the healing power of the arts was from Agnes Demille: She said:
Let me remind you that during the worst days of the blitz in London when the city was falling in rubble and ashes around the feet of its citizens, every day in the National Gallery empty of its pictures, Myra Hess, the great harpsichordist sat at a battered out of tune piano to play Bach and Scarlatti and Mozart to anyone who cared to sit on the floor and listen. And each day the halls were crowded with quiet people in sanctuary drawing salvation from what they heard. How proud and how gallant! They did this to lift up their own hearts and show the world they were not in the dust.
A this time in our history - we unanimously concur - the need for the humanizing and personally empowering influence of the arts becomes even greater.
So what do we do? Where do we begin? How do we help people see that art can be helpful in the recovery process? .I believe our success will come from addressing these four things.
1. The quality of artistic product
2. The quality of the overall experience (the non art parts - we'll talk
about this in a minute)
3. The relevance of our art to the intended audience
4. The effectiveness of our advocacy and marketing. (We'll talk about
this a lot.)
As I said yesterday, I don't think we can talk about arts advocacy without talking about arts relevance. Yes, the art - in and of itself - is critical - but for whom is the art intended? If we were to look -right now - at your mission statements, I would take a bet with any one of you that your mission includes the creation of, or preservation of , or promotion of art - but for whom?
Yes, we care about the players on the stage, but do we care that there is an audience to experience the performance? Yes we care about the kids in Shelia's Wisconsin Youth Orchestra and their parents, but don't we also believe that the presence of that Youth Orchestra is of value to the community - this state ? And - if so - isn't it important that that value is acknowledged by the people who live in her community? Do we care about that? Should we care about that? And whose job is it to communicate that message?
A consulting firm I have worked with for nearly three years now- does a tremendous amount of public opinion research as we deal with our arts clients across the country. We hold up a mirror to help groups better understand what public opinion is about them? And what we see - almost 100 percent of the time - is that the value of the arts in communities and the value of arts in education - weigh in at the highest levels. But somewhere, there is a disconnect between what the general public says it values and what the general public regards as relevant- how the public feels connected to the arts?
Let me share three quick examples of what happens when that connectivity is missing:
1) I came here yesterday from meetings w/ a client in a southern city. Results of the public opinion survey there showed high name recognition for eight of its major arts organizations. Now, the performing art center was known by 80 percent of the survey respondents and attended by more than 70 percent of survey respondents. But from there it went rapidly down hill. Though the other seven also had respectable name recognition, there was a wide gap between "heard of " and "attended." And then the seven wonder why they are having such a difficult time financially? Few people in that community are bothering to go through their doors.
2) In another state not far from here a state arts agency called us last year to do an assessment of the that state's performing arts centers. Performing arts centers were popping up all across that state. Wonderful! Yes, well partially . Almost as fast as the performing arts centers were being built, they were then going dark - some bankrupt. The community valued the building - but they didn't value what happened in the building. They had marginal connection with it but marginal connection does not a financially viable operation make. One of the performing arts center managers did manage to get hundreds a year in the door - his highest attended events were wedding receptions. Great for the balance sheet but it had others scratching their heads about the relevance of that activity to the mission. It also had the catering businesses in that town scratching their heads about public subsidy to this non-profit endeavor cutting into their market.
Third example - in yet another southern city - a capital city - an analysis of the combined reach of the data bases of the nine largest cultural organizations showed they were reaching only 11 percent of the households in that city. That was pretty stunning.
Yesterday, Shelia said, that artists need to be as known and as understood as the baker, the doctor or a teacher. I think we would all agree. So how do we help translate the value of art in ways that are regarded as essentiality as bread, health care and literacy? I think , we go back to those four elements I just mentioned both as individual organizations -----and collectively as a sector.
1) We polish the quality of artistic product.
2) We pay more attention to the quality of the overall artistic experience
(translation: everything about the arts experience beyond the art itself)
creature comforts, the ease of parking, safety of parking lots, lighting,
cleanliness of restrooms, quality of sound, knowledge of the box office
people, friendliness, the temperature of the hall, etc. etc. etc. For
those of you who think this stuff is insignificant, tell me the last time
you went back to a restaurant a second time where the meal was lousy or
the service poor.
3) That third point - relevance of our art - for how many people in our
communities does our work hold relevance? How packed are our audiences,
how full are our classes, and how crowded are our museums? Who in our
communities and how many have made our arts offerings a Saturday night
priority?
4) And finally how well do we advocate and market? Among those who attend
our arts events and among those who never will, how well are we known?
How well do we tell the story about what we do to impact quality of life?
I don't mean to be so crass - harsh because truly the arts in America have never been so strong. But when we compare the perceived value of the arts with the perceived value of education. And when we compare the value of the arts with the perceived value of human and health related services, the arts are consistently regarded as the lower priority by way too many.
We in the arts are fond of saving that the value of the arts is incalculable. However, the cost of nurturing, creating, producing and disseminating art is calculable. It is reflected in the combined budgets of the thousands of arts organizations in this country. And because we have not effectively communicated that fact, the majority of Americans take for granted our cultural resources. Let's hold up a mirror to you:
* Yes, you have a state arts endowment now (and dear god I know that
was no small feat) but for how many years has your state appropriation
remained flat?
* In how many schools in Wisconsin are the number of certified arts specialists
greater than they were two decades ago?
* If we compared the wages of arts providers in this state with the wages
of other nonprofits in our communities is there parity?
The list could go on and on. And we sit and theorize why?
There is an irony to all of this. We in the arts are so committed and passionate about the arts and their value to communities that we think everyone else feels the same way we do. We have to get more people in our doors -
There is great opportunity in this state - for starters, where we are sitting at this very moment - -Last night Peter told me that his goal in design was to keep the users shoulder to shoulder - to build and sustain a critical mass of all ages in this building. Peter understands the value of synergy and positive buzz. He is also working very hard to pull in traditional non-arts consumers. And based on Mayor Verjinsky's pride evident in his comments to us yesterday - this cultural center is regarded - at least by the leadership - as a precious resource in this town - I can't wait to see what's here in the next few years.
The cultural renaissance in Milwaukee and in many of your communities has been accomplished with great effort… but now, more than ever, turn your focus to the public at large - to the non arts consumer. Because the mayor is living proof that walking the talk instead of just talking the talk - is very impressive.
Think of how much easier it will be for Peter to get help from the city in the future: Before he even has to say it - others will also see the need for it and be the advocates with him to get what he needs. That power in numbers. That authenticity in need and value. People in Wisconsin Rapids can talk about the value of what is here in this Arts Center but this parking lot can't be empty or it will only be rhetoric. Think about the special walk way across the highway in five years so seniors going to and from here to take classes and come to programs will be able to easily negotiate crossing the street. Then think about the impact of Peter's 100 seniors climbing on a bus to go to Madison to speak with legislators about the fact their arts center needs more public support for their programs. Think about the impact in Madison of Senator Shibilsky holding up 250 letters from people who didn't just talk philosophically about the value of the arts - but the fact the quality of life for his older citizens is so much richer because they spend hundreds of hours a year in this building. Or think about the powerful statements Connie's representative can proclaim as he trumpets the positive impact acting classes are having on inner city youth. The lists go on.
We go back to those four essential elements of success : Artistic quality, the overall arts experience, program relevance (how well program's connect) and advocacy/marketing. These four areas are catalytic in terms of their impact on the well being of your organization.
Let me spend the balance of my time with you on nuts and bolts advocacy. I have a ten point list of critical elements - my staff at the time teased and coined them the 10 commandments - but here they are:
1. Know thy cause
2. Know thy issues
3. Be well organized
4. Know thy community
5. Know thy public officials
6. Know thy process
7. Remember that the levels of success are directly proportional to the
numbers involved
8. Be persistent
9. Forget not the characteristics of human nature
10. Lead by example.
These things may be new to some of you but based on what some of you have shared with me it will hopefully be reinforcement for what you are already doing:
I. Know thy cause
We know it is essential to be good at what we do. It is also important
to be able to talk about what we do - not just within the context of the
artistic discipline but how it addresses people's needs.
Networking and communication all year round with govt decisonmakers about
our organizations and the needs they fulfill increases their familiarity
with us. It builds their confidence and trust in us. It helps convince
decision makers that they can be advocates on our behalf because they
understand the good we do in their communities - and protecting what is
good for the community is their responsibility as elected officials. to
protect and support.
This year round cultivation also helps to ensure that when the time comes for us to advance an arts issue - be it about funding, building , zoning , Peter's special walk way - in the arenas where decisions are made, our elected officials will be leading the charge on our behalf.
The quality and merit of our artistic programs must be familiar to our elected officials but most important (whether or not they participate or are actively interested in what we do artistically) is that they understand the role and the value of our organizations to the well being of the community they live in. You need to nurture Mayor Verjinsky and Senator' Shibilski' s passion in each of your representatives.
II. Know thy issue
We must be able to clearly articulate what we want and why. Lawmakers
are bombarded with hundreds of requests about causes. We need to keep
our message concise, simple and compelling. The endorsement that this
has happened was in George's comments yesterday that he knows what to
say because Anne had written a crib sheet about what to say. You need
a common platform - your sector banner. It needs to resonate in powerful
sound bites Like, "For every million dollars appropriated, we have
calculated that the annual sales tax generated for the state of Wisconsin
would be three times that amount." That works.
III. Be well organized.
The key thing to remember about organizing an advocacy strategy in your
town is how to get maximum impact from the least amount of effort. We
are all very aware of time and resource demands. We also know that if
a task is clearly defined, takes only a small amount of time -people will
respond. In NY, we had an annual calendar that we distributed to everyone
- starting with budget decision dates and worked backward. Over the years,
arts groups knew what to expect and when. They could pace themselves.
They could plan for letter writing and a trip to the capitol because they
knew about it nearly a year in advance. The gameplan in that state is
now almost 15 years old, it's old hat and a part of the regime in that
state. Organizations have the staff and advocacy committees on their boards
to help. Tasks are in bite sized easily doable pieces.
Your tactile plan can be as simple as this: The mail, the telephone and personal visits.
¨ In NY we used the mail because legislators weighed it.
¨ We used calls because they were counted.
¨ We used personal visits because that relationship thing that Representative
Underhime spoke about yesterday is very, very valid..
Over time you will figure out what strategies work best for this state - like - letters from school kids best grabbed at legislator's heart strings. Letters on the stationery of the state's largest businesses at exactly the tight time can be very very powerful - (like at the last minute when Governor Cuomo started to back pedal on a promised restoration of a cut, within three days - with just a few phone calls across the state from our office we were able to generate by fax to the Governor scores of letters from the states most powerful businesses . And when we tied up the fax machines in Albany we then hit the fax machines at the Gov's office in NY City. It made an impact. He knew we were watching and he hated the pressure. And while "in your face strategies" are no way to win anything - there will be days when you must play hardball. Like AARP has been known to do and the teachers union.
IV. Know thy community
Sensitivity to the community environment and seeking opportunity is critical.
Some of you heard me talk yesterday about the community I live in. Our
firm did a cultural plan there and we just wrapped it in April of this
year. This is a county in Florida that still talks about its Mayberry
mindset. There is little money for the arts from the county. Two weeks
ago, the County Manager called us. They are trying to pass a sales tax
to help with sewers, roads and street lighting on the major highways and
he is no dummy - he is looking for public candy to add to the mix to get
the tax to pass. The county manager had seen the presentation of the plan
we made to the county commissioners. When we flashed on the screen that
more than 1000 citizens participated in the plan and the fact that our
research said 66 percent of the people would vote for a tax if cultural
amenities could be improved. The plan addressed three needs: 1) the need
for venues in outlying areas, 2) people wanting the arts closer to where
they lived and 3) doing something about the ugliness of the roads and
lousy zoning. A 9.4 million chunk of that 44 million dollar tax revenue
is now slated for adding performance venues to five libraries, eight park
properties being retrofitted for arts performances and 11 road gateway
beautification projects. I am blown away that we got this far in five
months with recommendations in that plan slated for years six and seven.
Will the tax pass? I'm not sure? But how amazing that we are in there
- and how fabulous it will be if it is passed.
V. Know public officials
¨ How long have they been in office?
¨ Are they in the majority or minority party? What committees have
they served on? What have they accomplished
¨ What is important to them personally?
¨ What interests do they have that are relative to their cause?
¨ What other non-profits have they rallied behind and why?
¨ What does the local press tell you about the way they think?
¨ See to it that your board leadership and key constituents know these
officials.
¨ Visit them in their government office3s.
¨ Get to know their staff.
¨ Before elections, conduct a poll. Ask them abut their views on the
arts.
¨ Throughout the year, see that you or your board leaders appear at
legislative sessions and town meetings.
¨ Pay attention and stay apprised of what elected officials are doing.
It tells them you are watching.
Our elected officials may never understand the technical aspects of what we do, be it dance or theatre ore historic preservation. But they had better understand the value and important of what we do in our communities. If they don't, we haven't done our jobs.
VI. Know thy process.
As important as it is to know what to do is when to do it. And with a
little ingenuity, you can create wonderful illusions like those letters
on the governor's fax. If you can reasonably expect to generate 250 phone
calls in your region - or 50 phone calls - consolidate them into a three
day period before a critical vote rather than across two weeks where they
get lost. It will make an impact. Think abut the value of phone chains.
Think about the value of e-mails!
VII. Level of success is directly proportional to the numbers of persons
organized.
Involve hundreds of people. Think of the victories in history won by sheer
numbers. Yes, you need lobbyists. Yes, you need leaders, but you need
the masses. The success of sports in this country is due to the massive
appeal and involvement of all ages across all sectors. Yes, they have
their champions and so must we - but the number of people involved in
a cause does speak volumes about value. Leave this task to a small handful
of 100 committed people and you will meet with only limited success.
VIII. Be Persistent
One of the most complimentary complements we ever received with New York's
advocacy effort was that we were rigorous, diligent and doggedly tenacious.
But calibrate your persistence. Some elected officials will need a lot
of cultivation. For others that same level of cultivation would be considered
a nuisance. Be smart about that. The staff of your elected officials and
the members themselves will be more gratified than you know.
IX. Forget not the basic characteristics of human nature.
Who are you most comfortable with? Who do you trust? When asked to do
something , to whom will you respond first? For whom will you make the
greatest effort? For whom will you take a risk? Elected officials are
no different than you and I are.
¨ You and I are most comfortable with people we know.
¨ You and I trust persons with whom, over time, we have gotten to
know and build relationships.
¨ You and I will respond first to the person who means the most to
us.
¨ You and I will go to the wall for persons whose integrity we trust,
even if it is a cause we are ambivalent about.
¨ We respond well to good information.
¨ We respond well to clear information.
¨ We respond best to persons who treat us with respect.
These are characteristics we can never forget when we deal with public
officials. These are characteristics we cannot forget when we are mobilizing
people in our communities to help us. We also need to be diligent about
saying thank you (like what happened here yesterday with the plaques -
in crediting legislators for their support). The Senator and the Representative
are emerging as your champions. I have to hope that they will feel they
have personally failed if, in the final hours of the next legislative
session, the appropriation for the endowment funding falls apart. You
have to hope that their egos will have them fight with a vengeance on
the floor of the chamber to move your appropriation because they feel
their reputations and credibility with this field are on the line. Because
in the 11th hour - the most critical hour - that is the only hope you
will have.
X. Lead by example.
As key arts and cultural leaders in this state, your constituents are
watching you. Your arts users, your audiences, your patrons, the parents
of your students, the business community and the public at large will
only be as committed as you are. You cannot expect this mobilization to
happen by itself. You cannot expect, that on their own - good arguments
will be developed. And you cannot except others to be tenacious if you
are not tenacious.
In closing = let me say this - and I mean it - this state is poised to
win more public support for the arts and culture. You have successful
organizations providing great programs - Shelia your 380 kids from 16
counties - George , your 249 artists who are getting critical help, Peter
and Mary Beth - this building. Build on the momentum of what is happening
in Milwaukee - build on the Madison Arts Center - and the other things
I have heard about in the last 12 hours. Use them as a foundation developing
smart political strategies that can help every artist and every arts and
cultural organization to positively impact policy that will help the field
grow. Learn from the mistakes and victories of states who may have been
at this longer. In three years you'll be on par with them. I wish you
well. Go for it.