{"id":1096,"date":"2024-11-19T14:00:00","date_gmt":"2024-11-19T14:00:00","guid":{"rendered":"https:\/\/www.artsjournal.com\/scenechange\/?p=1096"},"modified":"2024-10-18T07:27:16","modified_gmt":"2024-10-18T07:27:16","slug":"the-case-for-support-arts-capacity-walks-the-walk-among-nonprofit-arts-organizations","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/scenechange\/2024\/11\/19\/the-case-for-support-arts-capacity-walks-the-walk-among-nonprofit-arts-organizations\/","title":{"rendered":"The Case for Support: Arts Capacity Walks the Walk Among Nonprofit Arts Organizations"},"content":{"rendered":"\n

First, they define the community. Then ask what they need, not what they want. Finally, they don\u2019t confuse it with some irrelevant \u201cartistic vision.\u201d Why isn\u2019t yours doing that?<\/strong><\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

One of the great bugaboos of the nonprofit arts industry is that, while it must be responsive and responsible to the communities in which each individual charity operates, the definition of community can sometimes be purposely made vague to suit the organization\u2019s operations.<\/p>\n\n\n\n

A community to be served cannot be defined solely in terms of ticket-buyers and donors. That kind of self-indulgent, wrongheaded thinking in the nonprofit arts sector has relegated it to the irrelevant elitist dog show that it has become. A community is defined as a group of people whose relationship to each other defines their existence. One nonprofit arts organization defines it like few others.<\/p>\n\n\n\n

Welcome to Arts Capacity<\/a><\/strong>.<\/p>\n\n\n\n

\u201cI think it\u2019s the structure in our country that doesn\u2019t allow us to be our best selves,\u201d said Arts Capacity\u2019s founder, Holly Mulcahy<\/a>, a brilliant orchestral musician in her own right. \u201cWe\u2019re considered elitist, and it just boils down to human nature, wanting to belong and wanting to exclude. To me, that defeats the purpose of what we have. It\u2019s wanting to feel like you\u2019re part of something, and in order to do that, you need to exclude somebody else. The classical arts have never gotten away from that structure that started in Europe, where our patrons were kings and where artists were at the mercy of the wealthy.\u201d<\/p>\n\n\n

\n
\"\"<\/a>
Holly Mulcahy (Photo by Todd Rosenberg)<\/figcaption><\/figure>\n<\/div>\n\n\n

If not for Arts Capacity, an organization created to pull together and solve the problems of the incarcerated community \u2014 and yes, that is a community \u2014 the general public and the prisoners themselves would be relegated to an unrelenting vicious cycle of crime, incarceration, release, quick recidivism, incarceration, quick recidivism, etc.<\/p>\n\n\n\n

They do not work with the incarcerated community in order to get good reviews, achieve some vague definition of excellence, or to sell albums. The company\u2019s intention is to create a better world. The core of the mission statement can be restated as this: \u201cArts Capacity helps people in need.\u201d As their website states, they do it through establishing a common language of music in order to help prisoners \u201ccope with challenges and develop the capacity to experience change for good.\u201d<\/p>\n\n\n\n

\u201cOur intent is twofold,\u201d continued Mulcahy. \u201cWe offer a way for the incarcerated population to use music and the arts to find feelings, to harness ways to connect with people through prosocial behaviors, to enhance emotional intelligence, all using a platform of either creating art or digesting art. The other reason is that I wanted to quantify the value of music. In this industry \u2014 whether it\u2019s symphonic, chamber, or what have you \u2014 we all say \u2018Music makes you feel better. It\u2019s so wonderful. It\u2019s so good for you.\u2019 But we don\u2019t quantify it. That\u2019s what I\u2019ve been doing for eight years, is gathering the data. I can give you the numbers, and I can give you the success rates to quantify the value of the arts.\u201d<\/p>\n\n\n\n

\u201cIn the symphony world,\u201d she sighed, \u201cwhere I have been for 30 years, everybody is convinced that children need music. Children need concerts. \u2018We must have busloads of kids coming to our concert halls.\u2019 Then the only data that some organizations show is that 30,000 kids come to their concerts. But that\u2019s not a metric, is it? If nothing else happens, it\u2019s just a pleasant field trip. Arts Capacity does keep quantifying. Sure, we know how many people show up. But we also know if the audience is growing, what kind of music they like, how they like the music, how it\u2019s tracking, and how it\u2019s affecting recidivism. It\u2019s taken eight years to get the recidivism data metric.\u201d<\/p>\n\n\n\n

\u201cSome of the surprises come with new looks at the data,\u201d she beamed. \u201cHow is what we do positively impacting prison staff? How is it positively impacting the regular concert audiences that are curious. Why did a given prisoner resonate with a Jennifer Higdon string trio, and why should I go to live music concerts? That anecdotal data is important stuff, and we can point exactly to why that conversation got started. So it\u2019s not just prisons, it\u2019s 360 degrees, expanded in every direction.\u201d<\/p>\n\n\n\n

Arts Capacity\u2019s devotion to service came, at least at first, without the ropes of extortion that too often accompany major gifts. Mulcahy was the concertmaster for the Chattanooga Symphony Orchestra and started this program 30 miles south of there, at Walker State Prison in Georgia.<\/p>\n\n\n\n

\u201cOf course, we had to meet budget and to pay musicians,\u201d Mulcahy recollected. \u201cBut it wasn\u2019t like we need a gigantic chunk of cash. We started with a story. We started to show the success rate of prisoners. It was the focus on impact that manifested amazing curiosity from donors big and small. We focus on the story of why music works for this population and how it can work for anybody on the outside who may have life struggles that are similar to, say, Inmate John Doe at Walker. We came out with sincere, heartfelt stories. We\u2019ve shared those just here and there on social media for the last eight years, that started to draw attention, and the attention started to get exponentially larger. Then when we felt it was right, when we could stand on our own and say, you know, we\u2019ve done this the right way, which is we\u2019re it\u2019s not about us, it\u2019s about what the music does. The centerpiece of this is what music does for people. We\u2019re standing on proof, and we\u2019re standing on something that has been sincere from the get-go. I\u2019m just, I\u2019m totally in love with all of this, because it speaks so much to why nonprofit arts organizations exist.\u201d<\/p>\n\n\n\n

She continued enthusiastically. \u201cHow can music help people find their own emotions, temper their own emotions. How can it help their own creativity? How can it help them connect with their families? It\u2019s never been about saving people. I\u2019m not here to offer music because, \u2018you poor thing, you need it.\u2019 From that, we discovered that the stories that people have in these situations mirror society in uncomfortable but awesome ways. That discovery helped me amplify what I do on stage for the paying audience.\u201d<\/p>\n\n\n\n

What separates Arts Capacity from the majority of nonprofit arts organizations in America? They do not do community service as a sideline, as an add-on, or as a program that is more attractive to grantors than the mere presentation of art (which is not a tax-exempt activity, according to the IRS<\/a>). This is all they do<\/strong>, they do it well, and an entire community of people is made whole by their work. Get it now?<\/p><\/blockquote><\/figure>\n\n\n\n

I asked her for her definition of a prison community. The depth of the answer surprised me.<\/p>\n\n\n\n

\u201cEvery single prison has a different culture. For instance, the Walker State Prison, which is a medium-security, faith- and character-based prison, is fully supported by the community. They\u2019ve got church support, they have job support, they\u2019ve got college classes. They have high school GED. They are supported. It\u2019s a healthy culture for a prison.<\/p>\n\n\n\n

\u201cSome of the prisons in Kansas have large populations. They are not faith and character based. Their populations are maximum- and Supermax-security, which means that they include the worst crimes. There are lifers in there. It\u2019s equally important to give the lifers the same kind of care and treatment as the people who are going to get out. Lifers are pillars. If you mistreat the lifers, they\u2019re going to treat everybody around them badly, including the new prisoners that come in. If you treat a lifer well and with respect, they\u2019re going to set the tone. They know they\u2019re never getting out. But they\u2019re going to set the tone and be supportive of the people that will.\u201d<\/p>\n\n\n\n

\"\"
Inside the Hutchinson Correctional Facility, one of the prisons with which Arts Capacity works<\/figcaption><\/figure>\n\n\n\n

The lifers are the community\u2019s elders.<\/p>\n\n\n\n

\u201cHere\u2019s why the lifers are important,\u201d said Mulcahy. \u201cYou\u2019re talking about somebody that\u2019s going to be spending time in a prison, maybe 50, 60, 70, years, depending on when they enter, they\u2019re never getting out. But think how many wardens they\u2019re going to see. Think of how many staff changes they\u2019re going to see. The workers are not pillars. Those are people that are going to a job. But the people who are stuck in the prison are so much more important as far as keeping the culture positive, and a warden can make it or break it for those people, especially for the other part of the community: their children, their families, The wives, the friends on the outside \u2014 these are the people that we don\u2019t talk about in society. Prisoners might be seen as just people to be warehoused and forgotten about. But people like you and me \u2014 we might have somebody in prison to go visit. We might be children that go to visit their parents. So it\u2019s important to make sure those communications are stable and open and available. There\u2019s a lot of stigma, but the part of the community that is outside of the prison is very much attached.\u201d<\/p>\n\n\n\n

Outside the prison walls, performances and workshops can bring families together. Arts Capacity produced an opera for the inmates of Walker State Prison. After that, at the request of the prisoners themselves, they did a second performance outside the walls. That legitimized the art that was created. They performed the same piece for the prison families at no cost.<\/p>\n\n\n\n

This was a stunningly happy discovery for Mulcahy.<\/p>\n\n\n\n

\u201cMany times,\u201d she said, \u201cprisoners will take our concert programs and mail them to their children, and their children will start the clarinet, or the children will start the violin, and that gives them something to talk about at visitation. Both the prisoners and their children talk about music.\u201d<\/p>\n\n\n\n

In the summer of 2024, Mulcahy and the group performed at a Level Four and Five prison in brutally hot Arizona. One of the inmates regularly downloads opera. Pardon the expression, but he\u2019s a die-hard opera fan now.<\/p>\n\n\n\n

She has listened both to supporters and detractors of the program. The latter group generally believes that prisoners should not receive any services. To them, the words \u201cCorrectional Facility\u201d are just that, words. They believe prison should be all about punishment and not at all about rehabilitation or attempting to remove recidivism from the equation. Mulcahy has an answer to that group of individuals.<\/p>\n\n\n\n

\u201cLike it or not, the people who get out will be your future neighbors,\u201d she tells them. \u201cDo you want them to be able to handle their emotions because they\u2019ve discovered new ways to process that through music? Or do you want them to come out just knowing how to weld and not process emotions? Asking those questions to people takes the defensive mechanism out.\u201d<\/p>\n\n\n\n

These are the laws. Any judgment short of the death penalty tells us that the corrections system should be in the business of correcting, not punishing. But Mulcahy and Arts Capacity are not looking at the population through rose-colored glasses.<\/p>\n\n\n\n

\u201cThey\u2019ve committed terrible crimes,\u201d said Mulcahy, \u201cbut I wasn\u2019t in their shoes when they committed them. I didn\u2019t grow up the way they did. You just don\u2019t know. But what I do know is the people that are going to get out are terrified. They\u2019re embarrassed. They don\u2019t know what to expect, and if they are supported well, as they are at Walker State Prison, there\u2019s a better chance for winning. Don\u2019t we all want that in our society, a better chance for winning?<\/p>\n\n\n\n

\u201cWhen they get out, should they continue to be punished? The law says no. I\u2019m not a lawyer, but I know that when they get out, there\u2019s a certain process. When that stops, they\u2019re out, they\u2019re done. They\u2019ve paid their price. But still, some of them can\u2019t vote. Some cannot get jobs, because, you know, you check that box on the job application, and that\u2019s it. So what are these people supposed to do? They\u2019re still here. Don\u2019t we want them to be a functioning part of society, right?\u201d<\/p>\n\n\n\n

I asked Mulcahy to tell me (without using the words in the mission statement) her description of the punch-to-the-gut mission.<\/p>\n\n\n\n

\u201cIt\u2019s music for the people. People matter, making the music matter.\u201d<\/p>\n\n\n\n

Why does the music matter?<\/p>\n\n\n\n

\u201cIt\u2019s a platform for community, and many times when there\u2019s miscommunications in our screwed up and challenging world, music and the arts allow for a way to speak to each other in new ways that are productive in expressing our human condition.\u201d<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

In case you\u2019re wondering, I\u2019m a donor to Arts Capacity. They\u2019re a beacon of charity in a nonprofit arts sector in which there are few\u2026for now. And as I would do with a good movie, a great restaurant, or a terrific store, I want you to share in my good fortune for having found them. Send them your year-end donation, if you still do that. But give. They deserve it. And it goes without saying, but the cynics among us request this: no, they paid not a cent for this article. This is not an \u201cadvertorial.\u201d In the coming months, I\u2019ll be featuring more companies that walk the walk \u2014 if for no other reason than to show you that it is, in fact, possible to use art as a tool and not as a product. And to national foundation program directors: do a mitzvah <\/em>and include Arts Capacity in your giving portfolio. They\u2019ll make your foundation more valuable.<\/p>\n\n\n\n

\n\n\n\n
\"\"<\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"

First, they define the community. Then ask what they need, not what they want. Finally, they don\u2019t confuse it with some irrelevant \u201cartistic vision.\u201d Why isn\u2019t yours doing that?<\/p>\n","protected":false},"author":2,"featured_media":1097,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[21,100,32,25,26,19,18,17,99],"tags":[85,10,122],"class_list":{"0":"post-1096","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-culture","8":"category-book-recommendation","9":"category-charity","10":"category-development-and-fundraising","11":"category-giving-tuesday","12":"category-leadership","13":"category-nonprofit","14":"category-nonprofit-arts-organizations","15":"category-scene-change","16":"tag-community","17":"tag-impact","18":"tag-prison","19":"entry"},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/10\/walker-violin-class.jpg?fit=2048%2C1110&ssl=1","jetpack-related-posts":[{"id":1056,"url":"https:\/\/www.artsjournal.com\/scenechange\/2024\/10\/15\/why-do-donors-ask-for-irrelevant-data\/","url_meta":{"origin":1096,"position":0},"title":"Why Do Donors Ask for Irrelevant Data?","author":"Alan Harrison","date":"October 15, 2024","format":false,"excerpt":"Could it be that you never talked to them about your nonprofit\u2019s charitable goals and how they mesh with the donor\u2019s? 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