Great analysis, Adrian. You should be a consultant. (:~>) I know this will sound self-serving as a researcher, but what gets measured is often what really matters, particularly in the eyes of dispassionate authorizers. All I know for sure is that we need a new outcome rubric for arts and culture, one that re-balances 'heritage' and 'voice,' and one that every community can buy into. That, and a well-funded champion for cultural policy, and we're off to the races - at least the races where everyone doesn't bet on winning horses.
Seriously, maybe the moment is right now for an expressive revolution, given the tidal wave of interest in personal creative expression that is sweeping our country. But whenever I start talking with large budget producing organizations about making more connections to the inventive and interpretive modes of engagement, I get blank stares and hear an undertone of hostility about being taken 'off mission.' What should be made of the recent finding from an Irvine Foundation study that a third of adults in some regions of California want to take dance lessons? There is no infrastructure, nonprofit or commercial, to accommodate even a fraction of that demand. Nor does the dance field seem to care about it. Whose job is it to respond to this sort of public demand, much less detect it?
Only a couple of disruptive changes might actually shift the locus of power, and one would be to introduce a new measurement system for "expressive life" or "creative capital." As Bill has said, "policy accretes around bodies of data." If we can develop commonly accepted metrics for characterizing expressive life, then we stand a better chance of influencing policy. You can't win the game if you don't know the score. And, if no one else is keeping score, then you get to design the rules and thereby change the game.
I hate to bring this up, but Richard Florida's scorekeeping rubric for creative economies changed the conversation amongst civic leaders, in part because he produced a quantitative measurement system that policymakers could believe in, and that motivated them to 'win the game.' It tapped into a competitive streak amongst communities. Whether or not you agree with his premise, Florida changed the policy conversation. I envision a time, maybe 10 or 15 years from now, when communities across the country strive to increase their 'creative capital' in order to be competitive. The National Arts Index is a good step forward, but we need to press forward on this front much more vigorously.
A better framework for assessing the public value of arts and cultural programs and facilities might also help create a more objective basis for considering policy alternatives, as Adrian suggests. How does one weigh the value of seeing a great work of art in a museum against the value of seeing a cheap reproduction of the same work every day for twenty years over the kitchen sink?
Adrian Ellis; Alan Brown; Andras Szanto; Andrew Taylor; Bau Graves; Douglas McLennan; Ellen Lovell; Bill Ivey, William James; James Early; Jim Smith; Lewis Hyde; Marian Godfrey; Martha Bayles; Nihar Patel; Russell Taylor; Sam Jones; Steven Tepper
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