Raymond Tymas Jones

National Arts Advocacy Day is significant because it grants us an opportunity to gather as a community to reflect on the role of contemporary artists in the 21st century. No matter what the chosen art form, the passion to do art and to be art is born out of an insatiable yearning to make beauty, to make sense, and even to make waves.

As artists, we are summoned to bear witness of the truth of the human experience…the human condition and truth is more than simply facts. It is realness of life that is imbued with the psychological, emotional, spiritual elements of living that is not always easily accessible. It is this sense of urgency to communicate that artists find avenues to connect through music, theatre, film, dance, art, and literature.

For example, the powerful play by American playwright Stephen Adly Guigis, The Last Days of Judas Iscariot, explores in a witty, provocative, and sometimes-funny manner, questions about love and redemption through the story of a man who is considered the most notorious villain in human history. The genesis of this kind of art is the visceral reality that only comes from self-understanding. It is the quest for self-understanding that gives way to constant questioning, observing, celebrating, and revering the complexity, mystery, and beauty of humanity. Self-understanding fortifies us from self-deception and easy consolations.

We, as artists, are the first beneficiaries of the power of the arts to tell our personal story that mirrors our own realities. Each of us can be an alchemist, taking our ideas and understanding of the world around us along with our imagination and creativity to transform them into precious elements of universal elixir.

I believe that artists have the responsibility to hold the mirror up to nature and give a truthful account of the human condition and to do so in a manner that can touch the soul and heart as well as the mind.

Fifty years ago in a speech at Amherst College, John F. Kennedy proclaimed the importance of art when he said, “art establishes the basic human truth, which must serve as the touchstone of our judgment.”

Imagining the significant place of the arts in our society, he said, “I look forward to an America, which will reward achievements in the arts as we reward achievements in business or statecraft. I look forward to an America which will steadily raise the standards of artistic achievement and which will steadily enlarge cultural opportunities for all of our citizens. And I look forward to an America, which commands respect throughout the world not only for its strength but for its civilization as well.”

Even though there are some who feel that our commitment to contribute to the human spirit through our study and work in the arts and humanities leads to nowhere, I prefer to seek a life of meaning—of purpose. To know true meaning and purpose, it requires often going against the status quo, being the solitary figure.

It is the role of the arts community to affect civilization. It is the role of the artist to steadily raise the standards of artistic achievements and enlarge cultural opportunities for all citizens. As artists, it is our plight to be motivated by our concern for justice, for our nation’s greater strength!

As Kennedy said, “I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.”

Alec Baldwin and Robert Lynch speak during the Arts Advocacy Day Congressional Arts Kick-Off.

This week I’m in Los Angeles attending a meeting of the U.S. Travel & Tourism Advisory Board and hosting an Arts Action Fund event with Los Angeles arts leaders. As I flew out here, I was thinking about the incredible events of last week that impacted arts education.

It all began with the Arts Education Partnership (AEP) Spring Forum April 12-13, followed by a combined meeting of the Kennedy Center Alliance for Arts Education Network and our Americans for the Arts State Arts Action Network on April 15. The week concluded with our 25^th Annual Nancy Hanks Lecture on Arts & Public Policy and Arts Advocacy Day on April 16-17.

For those that weren’t able to attend these events, I thought I would share some of my experiences with you.

The AEP forum began with an exciting announcement—the National Endowment for the Arts named Ayanna Hudson, currently with Arts for All in Los Angeles, as their new director of arts education. Ayanna has been a program partner with, and a congressional witness for, Americans for the Arts during her time at Arts for All, and I’m really pleased she’s moving into this national role.

PBS NewsHour education correspondent John Merrow was the closing keynote at the forum, reminding us to let the 80 percent (the percentage of Americans that do not have school-aged children) know the good work that we are doing and how they can support us. In his words: “Don’t plead, lead.”

The next morning, I had the pleasure of speaking to forum attendees, reminding them that their voice is important in supporting arts education and that they are not alone.

I also had the privilege of witnessing a moving performance by students from A Place to Be—an original musical called, How Far I’ve Come. The performance was co-authored by a 17-year-old girl with cerebral palsy, who sees her cerebral palsy not as a disability, but as a gift to teach others about acceptance.

The performance was a testament to the power of the arts education, as therapy for students, as a creative outlet for our youth, and as a way to make a difference in our world.

Rachel Goslins, executive director of the President’s Committee on the Arts and the Humanities also gave attendees a sneak peak of their new initiative, Turnaround Arts, which launched this past Monday.

On Sunday, our State Arts Action Network held a joint meeting with the members of the Kennedy Center Alliance for Arts Education Network.

State Education Agency Directors of Arts Education President Lynn Tuttle gave an update on the revision of the National Arts Standards, and walked the group through an overview of what she called a “tornado of education reform” currently happening in our schools. In light of the velocity of change, the group discussed ways that the arts could be a solution to many of the problems that the “tornado of reform” is hoping to address.

Monday evening was our annual Nancy Hanks Lecture, a speech intended to stimulate discussion of policy and social issues affecting the arts. After a rousing introduction by Pulitzer Prize winning journalist Maureen Dowd, Oscar-nominated actor Alec Baldwin captivated the audience with his personal journey through the arts. Our own Board Chair Ken Fergeson, Ovation Chairman Ken Solomon, and 2012 Arts Advocacy Day Co-Chair/actor/author Hill Harper also gave brief remarks.

On Tuesday, I witnessed over 550 grassroots advocates visit Capitol Hill to demonstrate their commitment to the arts and arts education and ask their members of Congress to do the same.

Several congressional leaders offered their support, including Senator Tom Harkin (D-IA), chairman of the U.S. Senate education committee, who stated on the Senate floor:

“Mr. President, I ask you: How can we produce graduates who are creative and collaborative if we don’t value the arts in our society and teach it in our schools?”

We also received an update on the Obama Administration’s efforts to support arts education at a White House briefing that afternoon.

Many well-known artists joined us on Capitol Hill at a series of bipartisan meetings with members of Congress and staff, and each of them mentioned the importance of arts education. American Idol and So You Think You Can Dance producer/judge Nigel Lythgoe bemoaned the loss of our musical heritage and told Congress that arts education in schools is THE most important area to put money into.

A recent report by the National Endowment for the Arts has confirmed the correlation between arts education and better academic and social outcomes for our youth. Unfortunately, the U.S. Department of Education released a report, showing that the nation’s poorest students, the ones who could benefit the most from arts education, are receiving it the least.

This means that even after the excitement in D.C., we still have work to do to advance arts education in our country.

Although Advocacy Day is only a two-day event, our year-round work of advocacy continues.

Many thanks and congratulations to all the arts education advocates who traveled to the District to make it such an incredible week!

(Arts Watch is the bi-weekly cultural policy publication of Americans for the Arts, covering news in a variety of categories. Subscribe to Arts Watch or follow @artswatch on Twitter to receive up-to-the-minute news.)

Ursula Kuhar

I love yoga. It’s all the rage—even Nancy Hanks Lecturer Alec Baldwin is a fan. Yoga practice is a great fitness activity that has physical, emotional, and spiritual benefits. A thirty minute workout comprised of sun salutation, downward facing dog, and accompanied by a little “om” action provides the energy and balance needed to chug through the day.

What about arts wellness? I propose this: advocacy is the new yoga.

I promise, I’m going somewhere with this. Just hear me out.

Every year in April, hundreds of arts advocates arrive in Washington, DC for Arts Advocacy Day.

The two-day summit covers advocacy training, break out sessions regarding current arts issues, the Nancy Hanks Lecture on Arts and Public Policy at the Kennedy Center for the Performing Arts, and a day on Capitol Hill—meeting with legislators to discuss the state of the arts and future objectives.

It’s an empowering and inspiring experience. Even as a seasoned veteran, I discover new information, meet and discuss issues with colleagues from all over the country, and leave Washington knowing that somehow, in some way, I planted a seed by educating and encouraging my elected officials regarding the positive power of the arts and their support and continued funding benefits the country in countless ways.

But what happens when we leave our nation’s capital? It is all too easy to “fall off the wagon”: to put our Congressional Arts Handbook and other resources on a bookcase in the office, only to be revisited the following April.

Here’s where yoga comes in.

Advocacy must be part of our mission as arts administrators, patrons, board members, students, etc. It’s a natural instinct to share the glories, wonderment, and benefits of the arts, so why not incorporate this for 30 minutes a day?

Am I suggesting you go to Washington or your state house everyday for 30 minutes?

No, there are other effective methods of advocating: writing an e-mail or letter, making a phone call, or even making an appointment at a legislator’s district office. Advocate for the arts with local teachers, leaders, business people, and other organizations that could benefit from a future partnership with an arts program.

On the first day of my introductory arts management class, I share with my students the definition of an arts manager from David Conte and Stephen Langley’s Theatre Management:

“A person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader—becoming humble before authority—a teacher, a tyrant, and a continuing student of the arts.”

There is no mention of advocacy.

As the semester progresses we spend nearly four class sessions on arts policy and advocacy, even having my student arts managers participate in the advocacy process by writing to their legislators. On the last day of class, we return to this definition and evaluate it. Students quickly exclaim, “Dr. K—we have to be advocates. We can’t progress without it.” Truer words couldn’t be uttered.

My prescription for the health of our arts organizations: thirty minutes of advocacy a day. It makes a world of difference. And always make sure to stay hydrated.

During this clip, Baldwin makes the case for the the support of arts funding:

And for the coda of his lecture, Baldwin summarizes the main points of his journey through the arts during his life and utters the most memorable quote of the speech (besides the gang dancing line much earlier…):

“Art is like water. It’s essential. And I am honored to be here with all of you to carry the water on behalf of the arts again in 2012.”

Candy Nguyen Smirnow

I came to Arts Advocacy Day for the first time this year not knowing exactly what to expect.

I’ve never considered myself a political person. I rarely sign petitions and have never campaigned for any one organization or candidate. I’ve just always been very passive when it came to politics, most certainly because of my Gen X mentality.

So, when my boss asked me to join her I was hesitant, wondering does my voice really matter? But, I’ve learned a lot in the business world, and one of those things is never to pass up an opportunity to learn something new. So, I quickly reconsidered the opportunity to visit Capitol Hill.

As I walked into day one, I was amazed by the congregation of over 500 advocates. I was especially surprised by the number of young people who were participating.

When I was their age, I would’ve never even considered joining something like Arts Advocacy Day. I grew up in the public education system in Southern California, which unfortunately did not have much of an arts-infused curriculum.

In elementary school we had a “music cart,” where once a week Mr. Nelson would roll into the classroom with his keyboard and pass out the maracas and tambourines. It was everyone’s favorite day of class, but unfortunately it didn’t come quite often enough.

The rest of my music education was from afternoons watching MTV, dance lessons from Soul Train, and the theatrical and visual arts were consumed from whatever television programming was offered at the time.

I remember wishing I could go to a school like the one portrayed in Fame. I was a child that was brought up on pop culture, just like most of us were. But despite my lack of formal arts education, I was still drawn to the arts, just like most of us are.

When I ask others about the arts education they received in elementary school, I often hear stories of the instruments they received in fourth grade or the recorders they were given as Hill Harper jokingly referred to as the “ghetto flute” during the Nancy Hanks Lecture. I actually had to ask someone what a recorder was because it wasn’t part of my educational experience. Funnily enough, I was kind of envious. I wish I had a recorder!

I wondered how many other kids grew up like me, never having the chance to pick up an instrument just to try it out.

This was the real reason why I wanted to participate in Arts Advocacy Day. Today, so many children in U.S. schools do not have the opportunity to experience music, dance, theatre, or visual art first-hand. And I wonder how their overall growth as an individual will be affected by this.

Will they be able to compete in the global economy?

Will they have the creativity to innovate?

The arts are an integral part of our daily lives whether we realize it or not from the ringtone on our phone to the screensaver on our laptop, someone created it, someone designed it, someone imagined it.

It is my hope that the conversations I contributed to at Arts Advocacy Day will motivate our leaders to take action to restore funding for impactful programs like the U.S. Department of Education’s Arts in Education and the National Endowments for the Arts and Humanities appropriations.

As a united voice, our collective efforts and combined passion for the arts have made a strong influence on our respective legislators. I am optimistic that we’ve reminded them that the arts are not a luxury and that we should do all we can to ensure that everyone no matter their economic or social status should have the chance to experience the arts first-hand either in school or within their local community.

Arts Advocacy Day was a first for me, and after this experience I know that my voice does indeed matter and it is further strengthened and volumized by our collective collaboration.

For more videos, check out Americans for the Arts on Vimeo.

This time he addresses the evolution of his appreciation for dance:

Thanks again to our friends at Ovation for providing us with the clip.

You can also listen to Alec’s interview with National Public Radio’s Morning Edition on April 17 as a podcast on that program’s website.

Here’s a sample of his wisdom:

HOST STEVE INSKEEP: Why do you think arts funding is periodically a political lightning rod?

ALEC BALDWIN: It was easier before, and I think now you still have these kind of vapors in the air from old battles, which when there were individual grants and you could say those hot button words, like Karen Finley. And you could say Mapplethorpe and you could talk about individual grants that went to people…

INSKEEP: Artists whose work (unintelligible) were considered obscene in many cases.

BALDWIN: I’ve always had the same thing was when I’ve come down here to speak on this issue, which is, you know, art is something that comes from the artist in this unfettered way, or it’s not art, quite frankly. And you can’t go to the artist and say, OK, here’s a grant we’re going to give you, and you’re going to go off and, you know, quote-unquote, “make his art.” But when you do it, don’t do this, and don’t do this and don’t do this.

Well, this is essentially what they said to the grant recipients. They said you have to return the money for the grant if, when you’re done, it’s something we don’t approve of.

INSKEEP: Are you hitting at what the difficulty is, though, with arts funding, because the artist has to do something individual? They have to do something that feels new, that feels very true to them. It’s inevitably going to offend someone, and someone is going to say: Why are my tax dollars going to that?

BALDWIN: Well, I mean we open up, not a can of worms, we open up an actual oil tanker of worms, in my mind, if we start talking about your opinion and my opinion of what the government should be spending money on. You know, if you think I’m being verbose now, I could give you another three or four hours of what – for the record, he’s actually laughing as I’m saying this.

Ursula Kuhar

Local. Public. Value. Arts.

Try creating a cohesive, comprehensive sentence that reflects our field using these four words.

These simple words that occupy so much complexity within our industry, and an entire day of dialogue at the first Americans for the Arts Executive Directors & Board Member Symposium held on April 15.

It was an exhilarating experience to participate in a peer exchange with diverse leaders from organizations around the country including Americans for the Arts President & CEO Bob Lynch, Jonathan Katz of the National Association of State Arts Agencies (NASAA), and Mary McCullogh-Hudson of ArtsWave.

In order to frame our work as arts leaders forging into a “new normal” in the industry, Bob shared the history and context of the local arts movement in America, rooted in the discovery of the Americas to the first established arts council in 1947 by George Irwin in Illinois, to the evolution of today’s local arts enabling organization that provide cultural programming, funding, community cultural planning, and of course, advocacy activities.

Jonathan Katz broadened our horizons on how to apply public administration models of public value into our mission and Mary shared a case study of how her organization became a force of community building within the greater Cincinnati region.

The unifying idea of this leadership symposium focused on community—not only our organizations and the community of artists throughout the country, but our neighborhoods, our civic leaders, and our constituents.

This is being put into practice in Allegany County, MD, where Andy Vick and the Allegany Arts Council are engaging in the community through thriving and bustling arts and entertainment districts. In San Jose, CA, diversity has become a pivotal point of civic pride and innovation in public art and cultural celebration. Abel Lopez of GALA Hispanic Theatre in Washington, DC, emphasized the importance of access within our neighborhoods by providing opportunities to our audiences as a vehicle for civic engagement and stimulating dialogue.

My learning from the day’s events can be applied three-fold—administrator, artist, and educator:

• As an administrator, I further realized the importance of harnessing local arts in our organizations and the phenomenal power of partnership with peer organizations and civic leaders. The advancement of our organizations is not just about us anymore, it’s about collaboration.
• As an artist, I realize my work as a musician is a factor in the public value equation and is a responsibility I take seriously.
• As an educator, the information I acquired enriches my teaching and scholarship. We are charged with expanding the knowledge of arts policy for future arts administrators to propel them and the field into greater accomplishments.

Since the end of the symposium, those four little words mentioned previously have been constantly reeling in my head.

They compose an equation for the future of our organizations, and with hope and hard work, will provide answers for arts to be a sustainable, engaged, and valued part of the fabric of our communities.

Our Arts Advocacy 2012 advocates at the Congressional Arts Kick-Off.

It’s difficult to write an event recap post when you are still energized/exhausted as a staff member often can be following 48 hours of festivities surrounding Arts Advocacy Day, but I will certainly try.

Following last night’s Nancy Hanks Lecture on Arts & Public Policy by Alec Baldwin, the Congressional Arts Kickoff brought together our 500+ arts advocates in the Cannon Caucus Room alongside our artist-advocates and friends from Ovation and elected officials stopping by to express their support for the arts.

Armed with my smartphone in one hand and a flip cam in the other (several flip cams actually—batteries drain very quickly in those things), I witnessed an outpouring of support and passion for the arts like I have never seen (including an amazing performance by VSA artist Alicia Ucciferri).

In addition to our own President & CEO Bob Lynch and Ovation Chairman Ken Solomon (and encouraging words from Rep. Jim Moran, Rep. Todd Platts and Rep. Rosa DeLauro) the following artist-advocates took to the podium to give brief remarks:

• Hill Harper (“I’m an arts advocate and I vote”)
• Nigel Lythgoe (“I believe you’re losing your musical heritage”)
• Alec Baldwin (“I’ll be having lunch with Rocco [Landesman] to talk about using the profits from Book of Mormon to settle the national debt”)
• Pierre DuLaine (“Wouldn’t it be wonderful if we could get the republicans and democrats to dance together?”)
• Melina Kanakaredes (“If it wasn’t for the NEA in Akron, OH, where I grew up, I never would have gotten my start”) 
• Omar Benson Miller (“When I was a little boy, my mother used to take me to movies…Unfortunately for her we had an alternating system where I would choose one and she would choose one”)
• Johnathon Schaech (“I can’t believe there are opponents to what we’re speaking about here”)
• Tiffani Thiessen (“Public schools are not offering the same artistic outlets our kids are so desperately needing”)
• Clay Walker (“The arts can facilitate learning and behavior for [kids] to grow up and be more productive adults”)
• Ben Folds (“If you’re a parent you don’t need the data show you how important arts education is because anyone that wants to teach a child knows you have to be well-balanced”).

We’ll have more quotes, videos, and pictures to come on ARTSblog over the next week or so, so make sure to return for more in-depth interviews with Alec Baldwin & Nigel Lythgoe (together at last), Hill Harper (we even asked him about his recent pro/celebrity car race), and Tiffani Thiessen.

In the meantime, it’s not too late to celebrate Arts Advocacy Day by sending a message to your members of Congress and/or by tweeting or following all of the events by searching the #AAD12 hashtag on Twitter.

They just posted this video on YouTube covering the early part of Alec Baldwin’s presentation of the 2012 Nancy Hanks Lecture on Arts & Public Policy given on April 16 at the Kennedy Center in Washington, DC:

More to come…

A painting now owned by Alec Baldwin (details/reference to come in a future post): Ross Bleckner, "Sea and Mirrors" 1996, oil on linen 84" x 72"

I had a very strict usher shut down the very tool that makes live tweeting possible. Do attendants have issues with Alec Baldwin and wireless devices? Luckily, I was able to take notes in a different fashion without getting booted out of the theatre. I won’t reveal my secrets.

Mr. Baldwin’s speech was an “attempt to distill [his own] relationship to the arts.”

He divided a period of over 50 years into three groups:

1. “Art is all around me but I don’t know what art is.”

2. “Art is all around me so maybe I should introduce myself.”

3. “So much art, so little time.”

Consider the details of your own childhood. Mr. Baldwin’s past is not too unlike our own, if we grew up in a middle class family, in an age of television, movies, and popular radio. What were the moments that triggered a deeper appreciation for art?

What parts of your early awakening made you want to know more about art? What things made you dream of being an artist? What inspired you to envision a path to the improbable?

I remember singing into a hairbrush, and wanting to be Olivia Newton-John. Mr. Baldwin shared as much.

Mr. Baldwin shared stories of wanting to know more about art; even at the risk of having his lack of education snubbed by those “more sophisticated.” Thank goodness the snobbery didn’t sway his curiosity.

Baldwin explained why he’s leaving a popular (and probably lucrative) TV show in order to soak up more art as he “has more years to look back on than ahead.”

Mr. Baldwin rounded out his personal story with a deep appreciation for arts administrators. My favorite quote from him tonight, “Raising the funds for those programs is an important as each note that is played.”

His speech ended with a resounded battle cry for the work ahead:

“Despite what I do for a living, despite the potential to be surrounded by creativity with what I do every day in my field, I get my art the way you get your art; as a ticket holder, as an audience member, as a patron. And although I may eventually get in a shorter line than some of you, my love of the arts and for the artists is no different than yours. And I want as many people as possible to experience that regardless of income, where you live, or whether or not we elected representatives who get it.”

Maureen Dowd’s introduction was splendid: “Of course, we all know that Alec Baldwin has a problem of being completely incapable of expressing his feelings or sharing his emotions. He lives with the pressure of having a name associated with ‘being smokin’ hot.'”

Only a writer of her stature can combine A Streetcar Named Desire and “Schweddy Balls” in one sentence.

Will Alec Baldwin’s life be dramatically changed by yoga and his fiancee? “Zen and tranquil [from downward dog]? God, we hope not.” We need his mad genius.

Other Random Notes

The opening remarks from Hill Harper included two quotes:

– Bobby Kennedy: “The future does not belong to those who are fearful of bold projects and new ideas. But rather the future belongs to those who lend passion, reason, and courage into a personal commitment into the great ideas and enterprises of American Society.”

– Dr. Martin Luther King, Jr.: “We are all tied together in a garment of mutual destiny”

Tying both quotes together, Mr. Harper said, “The root of the word ‘courage’ is ‘coeur’, which means ‘heart.’ Many of us are linked because of our hearts.”

Prior to Harper, Dowd, and Baldwin, Ben Folds and YoungArts Alumni musicians performed two songs. The second stole my heart “I’m the Luckiest.”

While the song has become a new favorite for weddings, hearing the song again on Mr. Fold’s website, (Rocking in the Suburbs, track 12) and reflecting on Mr. Baldwin’s story—it truly made me realize how lucky I am to have been given the opportunities in my life to be saved and inspired by art.

As an arts advocate, I do my part to make sure others with me and after me have their opportunities, too.

(Editor’s Note: Stay tuned to ARTSblog for more posts related to Arts Advocacy Day 2012 and the Nancy Hanks Lecture on Arts & Public Policy in the coming days.)

Advocates begin training for their visits to members of Congress.

Over 500 arts advocates are gathering at the Omni Shoreham Hotel in Washington, DC this morning to begin training for Arts Advocacy Day.

This annual two-day event brings together representatives from nearly every state to meet with their members of Congress to advocate for a number of issues near and dear to those who love the arts.

In addition to a day of training in preparation for those meetings, Americans for the Arts with support from Ovation and other partners, will host our 25th anniversary Nancy Hanks Lecture on Arts & Public Policy at the John F. Kennedy Center for the Performing Arts just across town.

Tonight, we are honored to have arts champion Alec Baldwin as this year’s lecturer and singer-songwriter/composer Ben Folds performing (along with musicians from YoungArts).

Stay tuned to ARTSblog for Arts Advocacy Day information throughout the next two days or follow @Americans4Arts and #AAD12 on Twitter to receive up-to-the-minute reports.

You can also take action wherever you are by visiting our Arts Action Center and sending a message to your members of Congress.

While the FRSS will get much of the press because U.S. Secretary of Education Arne Duncan presented it, the study is of little consequence to the progression of arts education other then outright stating of significant declines in the amount of offerings across the board.

On the other hand, move over Charlie Bucket, the longitudinal study is the golden ticket arts education advocators have been praying for.

The longitudinal study gives the data for students of Low Socioeconomic Status (low SES) with both high and low arts exposure, and their counterparts in the High Socioeconomic Status (high SES).

The matrixes measured for each of the four categories include high school graduation rates, civic involvement, recorded grade point average, college graduation rates, average test scores, volunteer rates, other extracurricular activities, and labor market outcomes.

The results are startling, not because they affirm what advocates have said for years, but because of the achievement gap between low SES/low arts and low SES/high arts.

Looking at graduation rates alone, low SES/low arts had a dropout rate of 22 percent, compare that to low SES/high arts with a dropout rate of four percent. The low SES/high arts students are even below the overall sample average of seven percent.

For the mindset of these low SES/high arts students, we need only to look at the percentage of eighth graders planning to earn a bachelor’s degree 74 percent compared to 43 percent. These are motivated students and compared to their low arts counterparts they are 14 percent more likely to vote in a national election or local election, 21 percent more like to volunteer, and 29 percent more likely to read the newspaper.

Looking at grades and curriculum, the high arts students have an average GPA of 0.39 points above low arts and were 10 percent more likely to enroll in calculus while in high school.

It should be noted that the high arts students are inherently involved individuals, as they are participants in athletics and service organizations. However, students who are involved in other activities but are low arts do not have as high of GPA or curriculum gains as high arts students.

This is all fine and dandy, but why am I saying that this is hugely important when combined with the FRSS data?

Because in secondary school music alone there was a drop of 19 percent of offered programs for students in the low SES, but the high SES saw an increase of 6 percent between 2000–2010. In affect, the advantage is going to the advantaged, while the disadvantaged are becoming disenfranchised.

But there’s more: of the high SES, 62 percent of schools offered five or more courses in the music, while low SES only measured 32 percent.

One area the low SES has dominated though is in collaboration and integration. Music teachers in low SES are 14 percent more likely to consult with other teaches to incorporate units of study from other subject areas into the music curriculum and 17 percent more likely to utilize an integrated music instructional program with other academic subjects (and 18% with other arts subjects).

Like music, visual arts have rather similar data (in secondary schools): a drop in offering for the low SES of 13 percent and only 22 percent of the remaining programs offering five or more courses. Compare that to the 95 percent of high SES schools of which 56 percent offer five or more visual arts classes.

The unexpected number in all this comes from the consulting with other teachers to incorporate units of study from other subject areas into the visual arts curriculum indicator for low SES, which stands a staggering 17 percent above high SES.

So what’s the conclusion?

The students who benefit most from high exposure to the arts are receiving less of it then they did 10 years prior. Granted we had the Great Recession and states have to balance their budgets, as a native Californian (and boy, did we get hit hard in 2008) I understand.

That does not mean we are off the hook. As Secretary Duncan has said time and again, “we’re either going to invest in education or not, it comes down to the values. Everyone has to step up or we’re going to struggle.” (March 2, 2012)

Please join us at the Emerging Arts Leaders Symposium, coming on April 15 in Washington, DC (just before Arts Advocacy Day)! Spend a whole day with other amazing arts managers—share your knowledge and learn something new.