Arts and Social Justice: Staying Resilient in Challenging Times
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The report from the Social Justice Artists' Collaborative (SJAC) highlights findings from a survey conducted among artists and arts organizations in New York City to understand their challenges and resources. Key issues identified include the need for support networks, sustainable financial resources, and the importance of community engagement in bridging arts and social justice. The survey received 157 responses and reveals that while many artists are connected with like-minded individuals, they often lack the necessary support structures to thrive in their work.
Arts and Social Justice: Staying Resilient in Challenging Times
- 1. ARTS AND SOCIAL JUSTICE STAYING RESILIENT IN CHALLENGING TIMES Report Findings by Survey Design by the Irini Neofotistos, Senior Program Officer, Union Square Awards Amanda Warco, Research Intern, Union Square Awards
- 2. About SJAC: The Social Justice Artists’ Collaborative (SJAC) was launched in 2010 as a passionate call out for a grassroots network dedicated to building the power and sustainability of individual artists, small to mid-size arts organizations based in New York City, and creative communities invested in change. SJAC is now a growing progressive collective of people and organizations that comes together to learn, share, dialogue, connect, and evolve the capacities of arts and cultural practitioners to thrive on our own terms. Our goals are to: • Build community among arts organizations and artists engaged in social justice; • Strategize around challenges and explore long-term solutions; • Create new sustainability models; • Offer platforms and venues for sharing best practices and innovations; & • Foster new partnerships and creative fusions.
- 3. About the survey: To learn what issues are affecting us most as a community, SJAC recently conducted a survey of artists and arts organizations across the City. This report shares what we found. This survey was released by the SJAC and received 157 responses between October 11 and 31, 2012. Outreach was done by SJAC work group members who shared it with others through social media, the SJAC outreach email list, and their networks.
- 4. KEY FINDINGS Bridging Arts and Social Justice Arts and social justice work raises visibility, gives voice and creates engagement and interaction. Important to those doing this work is uniting communities, empowering individuals, developing opportunities to create and express, and providing access to the arts. Resources and Networks Being connected to others with similar values is important. A vast majority confirm they are connected to others that share their values. While most respondents have the tools needed to be effective and know where to turn to for needed resources, a significant number do not have a support network they can rely on.
- 5. KEY FINDINGS Financial Resources Respondents found skills or resource sharing, individual donor engagement and grassroots fundraising to be effective sustainability approaches. 70% of respondents have accessed grants to support their work. Of those, half report they no longer have access to resources they have relied on in the past. Top 4 Challenges Accessing Financial Resources Reliable Support Networks Time and Capacity Framing and Promoting Work
- 6. THE RESULTS
- 7. HOW DO YOU IDENTIFY YOURSELF WITHIN THE ARTS AND SOCIAL JUSTICE COMMUNITY? 32% of respondents 80% chose more than one 70% response 60% 50% 40% 30% 20% 10% 0% artist arts other service provider funder administrator 157 responses
- 8. HOW DO YOU IDENTIFY YOURSELF WITHIN THE ARTS AND SOCIAL JUSTICE COMMUNITY? Other Identities 9 8 7 6 5 4 3 2 1 0 activist organizer educator
- 9. PLEASE INDICATE YOUR ARTISTIC DISCIPLINE: 60% 50% 40% 30% 20% 10% 0% Visual Arts Media/ Theater Literature/ Conceptual/ Music Dance Other New media Creative Performance writing Art Other Disciplines 46% of respondents 6% chose more than 4% one response 2% 0% Multi-Disciplinary Poetry 157 responses
- 10. WHICH OF THE FOLLOWING TERMS DO YOU MOST IDENTIFY WITH YOUR PRACTICE, IF ANY? I.E., YOU WOULD FEEL COMFORTABLE USING THEM TO DESCRIBE YOUR PRACTICE. Social Change -3% 93% Community Arts -7% 89% Social Justice -5% 85% Public Art -14% 79% Social Practice -10% 76% Other 12% -0.2 0 0.2 0.4 0.6 0.8 1 Disagree Agree 130 responses
- 11. I USE MY PRACTICE AS A WAY OF CREATING: The top two areas of agreement are that respondents use their practice as a way of community building and responses to social issues. Mostly Agree: 100% 80% 60% 40% 20% 0% Community Responses A Broader Civic Call to Beauty Visibility for Building to Social Definition of Engagement Action Myself and Issues the Arts Others Agree Somewhat Disagree 130 responses
- 12. I USE MY PRACTICE AS A WAY OF CREATING: Split Opinion: Healing -14% 88% Outreach Tools -16% 80% Political Expression -24% 70% Organizing Tools -24% 68% Training Opportunities -25% 68% Political Education -25% 69% Political Engagement -24% 68% Rehabilitative Tools -34% 56% Other -4% 12% -40% -20% 0% 20% 40% 60% 80% 100% Disagree Agree Political Education, Political Engagement and Rehabilitative Tools were the most contested terms with larger numbers of respondents choosing “Somewhat Agree” or “Disagree.” “Other” responses included conversations, dialogue, attention, connection, and expression. 130 responses
- 13. I USE MY ART AS A WAY OF CREATING OR SERVING:
- 14. PLEASE ELABORATE ON YOUR CHOICES ABOVE OR SHARE OTHER LANGUAGE YOU USE TO CHARACTERIZE EITHER YOUR WORK OR PRACTICE. Individual responses that were especially interesting, challenging or representative: “Our mission is to celebrate our culture through the arts and educate people about our diversity. Cultural identity is very important to an individual formation in life. The arts can give people a great motivation in other fields.” “Feel that it is important to manage artist currently incarcerated, to help motivate and prepare them to be self sufficient and come come to make legal money to support their families.” “The choices seem to frame publicly presented/socially engaged work within a binary frame of either "romantic" art practice that occurs in the public sphere (beauty, sublime, grandeur, ego, et al) v. the social practice school. Both are problematic. I would like to see categories from another set of questions, like the categories one would ask bankers or lawyers or deep sea divers.”
- 15. PLEASE ELABORATE ON YOUR CHOICES ABOVE OR SHARE OTHER LANGUAGE YOU USE TO CHARACTERIZE EITHER YOUR WORK OR PRACTICE. “I prefer the concept of community engagement to outreach to reflect mutually beneficial collaborations. I also think of my work as part of broader efforts to engage people in the decision making that has in impact on their lives. And I think of my work as cross sector and holistic - recognizing how culture is integrated throughout our communities.” “Art responds to social, community, and personal issues but is also responsive to community and individual needs. The practices and outlets created cultivate a more equitable and just society, particularly where those resources do not otherwise exist. I have some resistance to the terms healing, therapeutic or rehabilitative. As a conscious person, I feel responsible to name, connect, and address what is not right in a way that is challenging, engages, and visions/creates something new, effective, and just. That process by its nature creates personal and collective healing. Lastly, while it is true that arts can create powerful tools for outreach, organizing, education, they are not a means to an end. If the art is meant to produce those outcomes then some of its power is lost. Connection to community and the process of creating or sharing in a collective way is critically important.”
- 16. DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR IDENTIFY WITH. Immigrants, African- LBGTQ, 1 4 American, 6 3 Youth, 18 Latinos, 6 People of Artists, 15 Seniors, 5 Color, 11 Asian, 3 Women, 1 1
- 17. DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR IDENTIFY WITH. Specified Need or Issue Area International, 3 Educators, 2 Incarcerated/ Families of Incarcerated, 3 AIDS/HIV, 4 Low-income/ Underserved Communities, 22 Homeless, 6 Occupy Movement, 2 Local Neighborhoods, 1 3 Other nonprofits, 2 Disabled, 2 SurvivorsAbuse, 1
- 18. WHAT TYPES OF ORGANIZATIONS OR NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR COMMUNITY? Types Included: Arts Councils CBOs Churches Community Boards Community Gardens Elected Officials Galleries Grassroots Organizations Libraries Museums Non-profits See Appendix A for list Schools of organizations cited. Senior Centers Social Service Agencies Union Organizers YMCAs
- 19. BRIEFLY DESCRIBE YOUR WORK AND HOW IT BRIDGES ARTS AND SOCIAL JUSTICE. Main Theme #1: “To raise visibility and give a voice.” Main Theme #2: “To create engagement and interaction.” Other prevalent themes: – uniting communities – empowering individuals – opportunities to create and express – providing access to art. See Appendix B for clarifying quotes.
- 20. ARE THERE SHARED CHARACTERISTICS FOR THE WORK THAT HAPPENS AT THE INTERSECTION OF ARTS AND SOCIAL JUSTICE? IF SO, BRIEFLY DESCRIBE SOME COMMONALITIES. There was a wide range of answers to this question with similar themes emerging as in the previous question, such as • Creating a voice for the voiceless • Offering new perspectives • Bringing together people within and across communities • Sparking conversations • Creating respect, empathy and understanding • Advocating for change • Self determination and expression • Tell a story • Educate
- 21. RANGING FROM "OFTEN" TO "RARELY" PLEASE ANSWER THE QUESTIONS BELOW: 100% 80% 60% 40% 20% 0% I am connected I have I have the tools I know where to I have a support to others that opportunities to needed to be turn to for network(s) that I share my values grow and effective needed can rely on develop resources Often Sometimes Rarely It is important for people working at this intersection to connect with others sharing their values. The vast majority of respondents report being connected to others that share their values. While most respondents report that they have the tools needed to be effective and they know where to turn to for needed resources, a significant number report that they rarely have a support network to rely on. 84 responses
- 22. DESCRIBE OR LIST ANY ACTIVITIES THAT YOU UNDERTAKE FOR YOUR OWN WELL-BEING OR SELF-CARE. Eating well and making home cooked meals. Exercise “It is a constant struggle.” Yoga Prayer/Mediation Creating art. Reading/Writing Time with Family and Friends Connecting with like-minded individuals
- 23. HOW DO YOU SUPPORT YOUR PRACTICE IN TERMS OF FINANCIAL RESOURCES? 80% 70% 60% 50% 40% 30% 20% 10% 0% Grants Artist Fees/ Residencies to Sales/ Donors Consultations and Services Employment Commissions Employment Other Honoraria Develop Work Earned Income Related to Practice Unrelated to Practice Often/Sometimes Rarely 80 responses
- 24. ARE THERE FINANCIAL RESOURCES THAT ARE NO LONGER AVAILABLE TO YOU? 51% of those responding to this question 60% reported losing foundation support. 50% 40% 30% 51% 20% 10% 12% 12% 12% 0% Foundation Lost Government Individual Support Job/Income Grants Donors 41 responses
- 25. EFFECTIVENESS OF SUSTAINABILITY APPROACHES. Most Effective: • Skill or Resource Sharing – A third of respondents indicate this as the most effective. 33% or respondents found it effective and 29% found it somewhat effective. • Individual Donor Engagement was found effective for 23% of respondents and somewhat effective for about 40% or respondents. • Grassroots Fundraising was found effective for 13% of respondents and somewhat effective for 40%. Under Utilized or With Mixed Reviews: • Online Crowd Funding was reported to be the least used overall. Only 4% of respondents found it effective, 25% found it somewhat effective, and 17% found it not effective.
- 26. WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU FACE THAT CURRENT NETWORKS ARE UNABLE TO RESPOND TO? 1) Funding – By far the most frequently mentioned challenge was sustainable financial support. Many respondents mentioned not having health care as a specific financial concern and several respondents spoke about the burden of applying for grants and meeting their administrative requirements. Several respondents spoke about the misunderstanding of their work and the reluctance of artists and funders to get involved in work with a political/social justice dimension. 2) Network/Community – The second most frequently mentioned concern was a lack of a network to turn to for advice, resource sharing and support.
- 27. WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU FACE THAT CURRENT NETWORKS ARE UNABLE TO RESPOND TO? 3) Lack of Time – Several people mentioned not having adequate time and being stretched too thin to accomplish all the necessary work. 4) Publicity/Promotion – A number of respondents struggle with publicizing and promoting their events especially when they often have to reframe their work for various audiences. Other: Shared rehearsal and performance space and shared legal assistance.
- 28. SJAC IS GROWING. WHAT CAN WE COUNT ON YOU FOR? • 26 respondents said they would offer resources to the collaborative or its participants including – • Leading workshops about food politics, environment, animal and people communities, the politics of transportation or the politics of the built environment, etc. • Resources from Arts & Democracy and NOCD-NY - not financial, but materials, approaches, workshops, and lessons learned • Sharing information with social networks • Collaborating on projects. • Providing event/meeting space. • 19 respondents could host future events • 29 respondents are interested in joining the work group to further shape the collaborative • 54 are interested in participating in future networking opportunities
- 29. WORK GROUP MEMBERS The organizations & individuals that have shaped the Social Justice Artists’ Collaborative are: Clarla Eliana Godoy Languna - Art for Change Charles Rice-Gonzalez & Arthur Aviles - Bronx Academy of Arts and Dance (BAAD!) Erin Gleason - Crown Heights Film Festival Meghan McDermott - Global Action Project (GAP) Michael Primo - Hip-Hop Theater Festival Shannon Brunette - Lambent Foundation Kay Tekada & Prachi Pa - Lower Manhattan Cultural Council (LMCC) Jessica Green - Maysles Institute Sandra Garcia-Betancourt - Northern Manhattan Arts Alliance (NoMAA) Karen Demavivas - NYFA Immigrant Artist Project Kemi Illesanmi, Petrushka Basin, Rise Wilson - The Laundromat Project Irini Neofotistos & Iris Morales - Union Square Awards Beatriz Gil, Leenda Bonilla, Carlos Martinez, Elizabeth Hamby, & Hatuey Ramos Fermin Individual Artists
- 30. APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR COMMUNITY? 50/50 in 2020 Columbia University ACNY Community Services Society Actors Equity Association Cooper Union Astraea Foundation District Committee for Participatory Budgeting Barnard College Diversity Council at Kean University Bella Abzug Leadership Institute Doors Youth Betty Shabazz Center Ecology Station Brooklyn BRIC Eldert Street Community Garden Broadway Housing Communities Feminist Press Bronx AIDS Services Flomenhaft Gallery Bronx Artisan's Initiative Fresh Ground Pepper Bronx Arts Group Gay Men's Chorus Bronx Council on the Arts Greenlight District El Puente Bronx Economic Development Groundswell Community Mural Harlem Arts Alliance Bronx Non Profit Coalition Bronx Price Hendricks Martin Institute HERE Arts Center Brooklyn Food Conference Hispanic AIDS Forum Brooklyn Friends Humans Rights Association Campaign to End the Death Penalty Independent School Diversity Network Catskills Heritage Alliance INSPIRIT Center for Urban Pedagogy Jewish Genealogy Society Choral Consortium of NYC Slide 1 of 2
- 31. APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR COMMUNITY? NOMAA Third Wave Foundation Jewish Voice for Peace Northern Manhattan Coalition for Justseeds United Palace for Cultural Immigrant Rights La Union Arts Odyssey House Lavender Light Voice Male Magazine On the Issues Magazine Leslie Lohman Museum of Park Slope Food Coop West End Collegiate Church Gay Contemporary Art People's Institute for Survival West Village Society for LIC Artists and Beyond Historic Preservation Longwood Arts Gallery Pepatian Women of Color Policy Make the Road Pergones Theater Network Man Up Campaign Pipeline Theater Company Women's Enews Men Can Stop Rape Queer Urban Orchestra Word Up Bookstore Mental Health Association of New Jersey SAG-AFTRA WOW Café Theater Metropolitan Community Church SAGE Morris Jumel Mansion Social Justice High School Motel Room Studios Bushwick Campus Mothers on the Move Start Small Think Big Mountain Keepers Studio 889 Mural Arts The DreamYard Project National Council for Research on Women The Feminist Art Project National Organization for The House of Spoof Collective Men Against Sexism The LGBT Center New Brooklyn Theater The New Jim Crow New York Foundation for the Arts The Point CDC NOCD-NY The Tank Slide 2 of 2
- 32. APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT BRIDGES ARTS AND SOCIAL JUSTICE. “Working as an art therapist with under represented persons allows for communities to be heard. Themes for the artwork includes communities perceptions (how they are being seen and how they want to be seen) and advocacy. We exhibit artwork in the community (e.g., pop up galleries, court buildings, and small shows amongst peers) as a way to practice sharing their knowledge with others.” “With each of our free programs, we strive to offer safe and creative platform for our community members to share their voice and struggles. As a community, they now have a space where they can share with the world their own stories through the creation of original social justice theatre that brings focus and attention to issues they are affected by.” “Work with "At-Risk-Young People" using art to build a connection between them and their community. Created intergenerational art programs where young people and elders work together to create an art project, in a effort to close the gap between the generations, so that they can talk to each other. Once they can hear and share what the other's needs are, we can begin to work towards removing the social illnesses running through our communities.” Slide 1 of 2
- 33. APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT BRIDGES ARTS AND SOCIAL JUSTICE. “We give educators tools to engage in conversations about race with their students in kindergarten through fifth grade. We use role-play to allow the participants to practice what they would say if they were in certain real-life scenarios.” “The location and time of my media/performances is intended to intersect with demographics that may be at that location at that time; I find people who might not be culture vultures to be a more interesting viewer than the galleristas.” “Social Practice, is the utilization of an artist's art form welded with an intellectual, research and experiment based production which seeks to make work that is relevant in the social realm. Historically, I have vehemently asserted that artists need to regain their position at the forefront of social, critical, and technological innovation, right alongside scientists and academics. I feel it is critically important to reinvest our intellectual practice within the art realm, in order to dovetail the innovation that art allows with the critically important aspects of the scientific and academic realms. Without the innovation possible within the art mindset, science can be stifled by restrictive academic dogma. Without the intellectual heft of science and academic importance, I feel art can be doomed to social irrelevance. In this critical time in world history, without a concerted effort to unite innovators across disciplines, I feel the incredibly complex issues and problems we are facing as a nation, as a people, and as a planet will not be adequately addressed or properly and comprehensively solved.” Slide 2 of 2
Editor's Notes
- #8: Out of all respondents.
- #9: Out of all respondents.
- #10: Out of all respondents.
- #14: Workgroup members should read through the open response answers in column AN.
- #15: Individual responses that were especially interesting, challenging or representative.
- #17: There was a wide range of responses to this question since there were different ways that it could be answered. This slide and the next are our attempt to sort the responses into different categories.
- #20: Workgroup members should read through the open response answers in column AQ.
- #21: Workgroup members should read through the open response answers in column AR.
- #25: Workgroup members should read through the open response answers in column BJ and see Appendix C in the workgroup internal presentation.
- #27: Workgroup members should read through the open response answers in column BR.