Last week, the American Recovery and Reinvestment Act was signed into law amid a frenzy of industry lobbyists, advocacy groups, and special interests. Having set a precedent of groundless entitlement with the banks, the government has been besieged by everyone from car manufacturers to pornographers ever since, each of them campaigning for a handout. As with any legislation, there will be winners and losers. While these 407 pages steep in bureaucracy, the country is crackling with gossip and speculation about who will benefit from this economic stimulus, who will suffer, and who will be ignored. It seems the NEA will receive an additional $50 million this year, and $25 million has been earmarked for repairs to the Smithsonian. In total, about .0000953% of the money allocated. Though Obama invited a poet and three musical superstars to his inauguration, I would caution anyone from mistaking the gesture as a sign the arts have now become a national priority.
This will likely be a tough year for the arts. Local governments will be cutting funding to art programs in order to meet tighter budgets, there will be a decline in corporate sponsorship, and many of the deep pockets that the arts have relied on for support in the past have now become shallower. However, there is still reason for optimism if artists are willing to make a stronger commitment to supporting each other. Rather than focusing on self-promotion, on competing for grants and awards and prestige, perhaps we could utilize this economic lull to work toward a greater support infrastructure within our own community.
In the last issue, a reader survey was conducted to get an idea of the degree to which readers are currently supporting the arts with their own money and presence at artistic events. I’ll let the results speak for themselves. Yet, it is worth mentioning that some readers live in smaller towns where access to live music, art galleries, and theater is limited; this should be considered when interpreting the results.
Artists or not, if we value the arts, it is crucial to nurture them, especially on a local level. Financial support is the most obvious method. Buying books and CDs, paying admission, or even buying a coffee and a sandwich at a café where another artist is hanging and telling the person behind the counter that you are there because of the art on the walls. This is huge. But money alone is not enough. Relationships and gifts of time and knowledge are the real currency of any lasting community. In the days ahead, AmbushArts.com will be helping facilitate discussion on how best to develop a better support network among artists. We’re also committed to implementing the results of this dialogue.
While you spend time with this issue, try to think of ways in which artists can assist one another outside of the marketplace. Things like offering pro bono music lessons to those with more promise than financial means, running errands for elderly artists in the neighborhood, or babysitting free-of-charge for artists who have kids so that those folks can spend time alone with their craft. What is currently being done to strengthen the artistic community that is working? Which efforts are failing? Write down your thoughts and come back to AmbushArts.com soon to share them with others.
In the meantime, I hope the second issue offers you its own kind of stimulus package, and that you are inspired to seek out more from the artists responsible for that boost. It’s certainly worth your time to do so. And if you do receive something positive from any of these artists, for the sake of community, share your appreciation with them. Buying a CD, a print, or a collection of poems or stories makes a difference. So do encouraging words. Feel free to contact AmbushArts.com with any relevant feedback you may have, and I'll pass it along. Enjoy.
Ad lucem,
John Thomas
Founding Editor
