Post-Election: Rural America and the Human Need to Be Heard

I have never truly felt like I fit in anywhere I’ve lived. Growing up as a mixed Asian in rural Virginia, I often felt out of place. Interestingly, what resonated most with me during my youth was Hip Hop, an art form born out of urban America. It was a genre that empowered people who, for generations, had been told they were powerless and didn’t truly belong.

In 1996, I moved to Philadelphia to attend college during what I would call an artistic renaissance. The Roots had emerged as a unique and important voice in Hip Hop. Meanwhile, Ed Rendell, the mayor at the time, was investing in Center City and Old City, empowering arts organizations to drive economic development. This had a profound impact on me, showing how artists could be empowered and how their platforms could activate a community. I begin this post with this context because I now want to speak on behalf of rural America.

Growing up in rural Virginia but coming of age in Philadelphia has given me a unique perspective on the power of the arts and the need to be heard. Over the past two years, my work has taken me to small towns and rural communities across the United States. I’ve spoken with arts leaders, community organizers, and local artists who dedicate themselves to capturing and celebrating the identities of these places. Through these conversations, I’ve developed a deep appreciation for what makes these communities unique—their values, resilience, distinctive demographics, economies, and cultures.

One thing stands out in all these places: the arts organizations that thrive are the ones that meet their communities exactly where they are. These organizations don’t come to “bring art” to people; instead, they listen, honor, and reflect their community’s voice. They take pride in their communities and celebrate their stories. It’s important to note that most people in these communities are not racist, sexist, or hostile to the LGBTQ+ community; rather, these topics are often not openly discussed or prioritized, leaving a silence that louder, more extreme voices can exploit and that media outlets amplify. By providing a localized platform, these arts organizations create a space for healthy expression, allowing voices that might otherwise go unheard to be celebrated and fostering the broad spectrum of identities within these communities.

In the wake of the 2024 election, I ask: Is our educated upper class doing the same on a national level? Are they meeting people where they are, genuinely engaging with their concerns and experiences? Are we celebrating people for who they are and where they’re from, making them feel included in our national story? Or are we reducing these communities to stereotypes, sharing memes that highlight how they fall short of progressive ideals? Too often, the answer seems to be no.

Across the political spectrum, many people in rural communities feel overlooked. Their perspectives are reduced to stereotypes or simplistic political talking points designed to spark anger. Their real needs are ignored, and they are “othered,” much like immigrants are “othered” on the right. Much of our legislation is not tailored to the realities of these areas, where resources are scarce and capacity building is limited. People in these towns feel dismissed and unrepresented by a system designed to serve larger, wealthier, and more elite communities. Is it any wonder, then, that they’re drawn to leaders who validate their frustrations—even if through anger?

The arts have the power to give people a voice. When communities can share their own stories—through public art, performances, and cultural projects—they feel seen and valued. This sense of belonging isn’t a luxury; it’s a fundamental need, a way for people to feel human, respected, and connected to something bigger than themselves. I should also note that this lack of opportunity to be heard isn’t limited to rural places.

It’s not a coincidence that Democrats have also lost ground in many poorer urban communities in this most recent election. Just like their rural counterparts, those in these communities feel disconnected from the impact of our national project. They, too, feel alienated by a system that seems to prioritize economic growth for the few while ignoring the daily realities of their lives. Residents struggle with affordable housing, quality education, accessible healthcare, and fair economic opportunities—challenges that don’t seem to be priorities in a system focused on abstract indicators. Is it surprising, then, that the call to “tear it all down” resonates just as powerfully in poorer urban neighborhoods as it does in rural America?

Both rural and poorer urban communities feel marginalized, searching for voices that acknowledge and respect their struggles. Though they are often seen as worlds apart, these communities share a bond in their frustration. They feel that mainstream narratives and policies are out of touch with their realities, and they are increasingly drawn to leaders who promise to upend the status quo. If we genuinely want to bridge these divides, we must stop categorizing these communities as merely rural or urban, poor or wealthy, college-educated or not. Instead, we should recognize them as places where people simply want to feel heard and respected.

As someone who often moves in progressive circles, I am struck by the biases that emerge in subtle but telling ways. After Kamala Harris’s loss, I noticed a popular video clip circulating among those I algorithmically align with. The clip is from Blazing Saddles, where Gene Wilder’s character says, “You’ve got to remember that these are just simple farmers… the common clay of the New West… you know… morons.” For many, it’s a joke—a way to feel powerful in the face of powerlessness. But to me, it embodies the problem we’re facing. Rural doesn’t mean ignorant, but too often, rural does mean disrespected.

I recently listened to a powerful essay by Ezra Klein of The New York Times, in which he posed this question: “Emotionally, there are two ways Democrats can respond: contempt or curiosity. I’ve seen plenty of contempt already. If Americans are still willing to vote for Trump, given all he’s said and done, then there’s nothing Democrats or Harris could have done to dissuade them. There’ll be a desire to retreat, to hunker down, to draw the boundaries of who is decent and who is deplorable ever more clearly.”

If we are serious about creating a coalition of understanding, we must start by ensuring that all communities have the opportunity to be heard. We can’t let the loudest, angriest voices dominate the narrative while the true stories remain untold. Both rural and poorer urban communities deserve a genuine platform to share who they are, take pride in their lives, and contribute to the larger American story.

Listening—truly listening—is one of the most powerful ways we can begin to heal these divides. When people in these communities feel that their voices are valued and that their stories matter, they are more likely to feel connected to a larger collective project. This is a chance to build a future where everyone, regardless of where they live, feels respected, heard, and part of a shared national story.

Funders, it’s time to direct arts funding to our smaller, often-overlooked communities—specifically, those with populations under 100,000. These places are a critical part of our American identity, and their stories deserve to be shared, celebrated, and supported just as much as those in large urban centers. Investing in the arts in rural areas and smaller cities isn’t just about economic growth; it’s about fostering human connection, building community pride, and giving voice to those who feel sidelined in the national narrative.

Building a new national coalition won’t be easy. It will require rethinking how we engage with one another, make policy, and fund the arts. But if we make the effort—by listening to people as they are and meeting them where they are—we can create a culture where people begin to listen to each other and, as a nation, finally start to understand.

Securing Government Funding for Arts Organizations in Small Communities: A Step-by-Step Guide

For arts organizations in small communities, securing government funding can be a powerful tool for growth, sustainability, and community engagement. However, with populations under 100,000, the funding landscape and approach may differ from larger cities. Opportunities at the local, regional, and national levels still exist but require a strategic approach that takes into account the unique qualities and needs of smaller communities.

This guide provides a tailored roadmap for arts organizations in towns and small cities, helping you navigate funding applications and lobbying efforts to secure resources that can make a big impact on a smaller scale.

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1. Understanding the Funding Landscape for Small Communities

Local Funding

Local funding sources often include city budgets, arts commissions, tourism boards, and economic development authorities. For small communities, local government funding is likely directed at projects that foster local pride, attract tourism, or directly benefit residents. While local grants in small towns may be more modest than those in metropolitan areas, they are highly relevant for community-centered initiatives, like festivals, youth art programs, or small public art projects.

Regional Funding

State arts agencies and regional grant programs are key players for small communities. Many state arts councils prioritize rural and underserved areas, often with set-asides for small-town projects. These grants can be larger than local ones and might support operating costs, capacity-building efforts, or collaborative projects that serve multiple rural or small-town locations. States frequently support efforts that address arts education, community engagement, or the economic benefits of arts programs. In Virginia where I live, the Virginia Commission for the Arts is one of the only funders that supplies our organization with an unrestricted annual operating grant.

National Funding

National grants, like those from the National Endowment for the Arts (NEA), may seem daunting due to their competitive nature and complexity. However, many NEA grants, like the “Our Town” grants and those from other federal agencies specifically support rural and small-town projects. These grants often reward innovative projects that make arts accessible, particularly in regions with limited access to cultural resources. National funding can provide transformative support for larger or multi-year projects that align with federal priorities, like arts education, economic development, or cultural preservation.

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2. Building a Strategic Funding Plan for Small Communities

Assess Community Needs and Project Goals

Identify specific community needs that your organization can address, such as increased access to arts education, revitalizing a downtown area, or providing arts programming for local youth. Tailor each project to directly benefit your town and its residents. This way, funders can clearly see the potential and specific impact of their support.

Consider engaging the community in identifying and prioritizing needs. Public meetings, surveys, and focus groups can give your organization a clearer sense of what matters most to residents, and funders appreciate projects that are community-driven.

Create a Funding Matrix

Map out a list of potential grants at the local, regional, and national levels that align with your project or organizational goals. Include each grant’s eligibility requirements, deadlines, and application process, so you can manage timelines and ensure readiness. This matrix will help you prioritize applications and coordinate efforts across different funding sources.

Build Relationships with Local Decision-Makers

In small communities, personal relationships matter. Get to know city council members, city management team, economic development directors, arts commission representatives, and other leaders in local government. Attend public meetings, engage with community boards, and participate in events. Decision-makers who know your organization and understand its value to the community are often more supportive of funding initiatives.

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3. Lobbying for Arts Support in Small Communities

Educate on the Value of the Arts

In smaller communities, the arts may not always be seen as a top priority. Prepare to educate local officials and stakeholders on the tangible benefits of arts funding. Highlight how the arts can attract visitors, boost local businesses, enhance educational outcomes, and foster community pride. Use clear, relatable data and stories that show the impact of the arts in your town.

For example, if your organization has hosted events that boosted local business, share those statistics. If a school arts program has increased student engagement, share feedback from teachers or parents. The more concrete your examples, the more compelling your case.

For helpful resources, visit Americans for the Arts the national lobbying organization for federal arts funding. One of their strongest tools is their Economic Impact Calculator.

Engage Key Community Advocates

Advocacy in small communities can be strengthened by involving influential locals, like business owners, educators, and community leaders. Invite them to be champions for your organization. A local café owner, a school principal, or a prominent community volunteer can provide influential support and may even speak on your behalf at town meetings or in letters to officials.

Mobilize Grassroots Support

Grassroots support can have a big impact in small towns. Reach out to your audience, students, or constituents, asking them to attend public meetings, sign petitions, or voice their support for arts funding through social media. Highlighting widespread community interest shows decision-makers that the arts are a valued priority among residents.

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4. Crafting a Compelling Grant Proposal for Small Community Projects

When applying for government grants, especially for small-town projects, ensure your proposal aligns with the funder’s goals and highlights your project’s community impact.

Understand the Grant Criteria

Review the grant guidelines and requirements carefully, focusing on how your project aligns with the funder’s stated goals. Many government grants prioritize accessibility, community benefit, and sustainability, so ensure your project addresses these elements. Also, make note of any special considerations for rural or small-town projects.

Define Specific, Measurable Goals

Funders want to see that their support will result in concrete outcomes. Instead of saying, “We will make the arts accessible to our community,” be specific: “We will offer 10 free workshops for local youth, reaching 150 participants, with 80% indicating increased interest in the arts.” Such measurable goals are more likely to resonate with funders. I will share that artificial intelligence tools can be helpful when developing and thinking through how to measure your stated goals in a grant application.

Show How the Project Benefits the Community

Describe how the project meets a specific need within your town. If your project will attract visitors, create jobs, or engage underserved residents, make those points very clear. Incorporate testimonials or anecdotes from residents to add a personal dimension to your proposal. Funders are more likely to support projects that show a genuine understanding of community needs.

Provide a Detailed, Realistic Budget

Present a well-thought-out budget that breaks down project costs and demonstrates fiscal responsibility. If possible, show how your organization will sustain the project beyond the grant period, whether through local partnerships, ticket sales, or additional fundraising efforts. For funders, a realistic budget signals that you’re prepared to execute the project effectively. If you yourself do not have the skills to present clear and professionalized budget, I strongly encourage you to prioritize seeking outside guidance and support.

Highlight Organizational Capacity and Experience

Small-town funders may have concerns about the ability of local organizations to manage grants. Alleviate these concerns by highlighting your team’s expertise, partnerships, and previous successful projects. Detail any experience your organization has managing similar projects, and showcase community partnerships that add depth and support to your efforts.

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5. Managing and Reporting on Government Funds

Track Expenses and Maintain Accountability

For government grants, accountability is essential. Keep meticulous records of spending, using a clear system to document expenses. Review your budget periodically to stay on track and address any adjustments proactively.

Measure and Report Project Outcomes

Funders appreciate data, so track and measure your project’s progress and outcomes. Collect feedback from participants, attendance figures, and any demographic information that demonstrates how the project served your community. This data will be valuable not only for reporting but also for future funding requests.

Prepare Detailed, Timely Reports

Submit reports on time, adhering to the funder’s requirements. Be transparent about any challenges you encountered and how you addressed them. Funders value honesty and appreciate organizations that learn and adapt so don’t fear transperancy. Thorough reporting can pave the way for future funding, as funders are more inclined to support organizations that demonstrate accountability and commitment.

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6. Building a Foundation for Future Funding

Celebrate and Share Your Success

When your project concludes, celebrate its impact! Share results with your community and stakeholders, including local media, on social media, and through newsletters. Invite funders and local officials to attend a final presentation or open house. Publicly sharing success stories can reinforce the value of arts funding in the community and keep your organization in the spotlight.

Leverage Project Outcomes for New Opportunities

Successful completion of a government-funded project can enhance your credibility with funders. Use this success to support future applications, showing your ability to manage resources, achieve goals, and positively impact the community. Highlight any unexpected outcomes, new partnerships, or ongoing community benefits that resulted from the project.

Stay Connected to Funders and Community Leaders

Maintain relationships with funders and local leaders by keeping them informed of your organization’s activities, sharing your successes, and inviting them to events. Even a simple thank-you note can make a lasting impression and help sustain support for future projects.

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Key Takeaways for Small Community Arts Funding

- Know your community’s needs and develop projects that respond to them directly.

- Build relationships with local leaders and keep decision-makers engaged with your organization.

- Be a proactive advocate, educating stakeholders on the value of the arts and engaging community support.

- Craft clear, measurable, and community-driven grant proposals that demonstrate both impact and organizational capacity.

- Emphasize transparency and accountability in managing government funds.

- Celebrate successes and keep funders and the community engaged for future support.

With a targeted, relationship-focused approach, arts organizations in small communities can successfully secure government funding to create meaningful cultural experiences for residents. Small towns may have fewer resources, but with the right advocacy and grant-writing strategies, they can leverage government support to create a thriving arts ecosystem.

Building a Donor Base in a Small Town

The arts can be essential to fostering well-being and driving local economies in smaller communities. However, the reality is that most of the contributed revenue in the arts sector is concentrated in organizations with annual budgets exceeding $5 million in larger markets. This leaves smaller entities, particularly those in communities with populations under 100,000, struggling to compete for limited resources.

One of the most glaring disparities in arts funding lies in the distribution of private and family foundation contributions, corporate giving, and local government funding. These sources of support are crucial, yet they are typically concentrated in larger, urban areas, leaving smaller communities at a disadvantage. Without access to these funding streams, small-town arts organizations often rely heavily on a narrow base of charitable giving—primarily from “angel” donors. While these sources can provide a temporary lifeline, they can also create a precarious financial situation. Overreliance on a few large gifts or a single donor can lead to instability, especially when these contributions are not part of a broader, more diversified fundraising strategy.

In smaller communities, where large corporations are scarce and philanthropic priorities often lean toward human and social services, arts organizations must navigate a challenging landscape. The sustainability of these organizations depends on their ability to cultivate a culture of widespread community support, ensuring that no single source of funding becomes a crutch. By diversifying their revenue streams and engaging a broader base of donors, small community arts organizations can build a more resilient foundation, securing their place as essential pillars of local culture and economy.

A Lesson from a Very Special Donor Wall

The Sitka Fine Arts Camp (SFAC) in Alaska stands as a remarkable testament to the power of community-wide participation in supporting the arts, exemplified by the transformation of the historic Sheldon Jackson College campus. In 2011, when SFAC was gifted the abandoned and deteriorating Sheldon Jackson College campus, they faced the monumental task of renovation. Over the next four years, the Sitka community rallied around the camp, contributing over 45,000 volunteer hours as well as significant funds to begin the restoration process. There was no single “angel” donor or corporate gift, but rather a critical mass of the community collectively bringing the campus to life.

Sitka Fine Arts Camp’s donor wall reflects this extraordinary level of community involvement, with each name representing a personal commitment to the camp’s mission. SFAC ensured that each donor and volunteer's name was displayed in the same size, regardless of the size of the gift or hours volunteered. The story of Sitka Fine Arts Camp highlights the importance of community-wide buy-in and a diversified donor base.

1. The Message is Key

Before diving into the various tactics that can be employed to fundraise, it's essential to address a fundamental component of fundraising: the message.

Any message needs to be crafted for the specific community it appeals to. However, some fundamentals can help:

- Avoid generalizations or vagueness. Be as specific as possible about what the funding is supporting—whether it's particular programs, facility needs, or short-term initiatives that provide clear value to the community and the donor.

- Generate a specific value proposition for the organization and/or the activity. This value proposition should speak to a wide audience and highlight not just the cultural value but also the economic, educational, and broader community impact the work will have.

- Be earnest and authentic in conveying who you are, who the community is, and the relationship between the two. Drawing a clear line between the artistic work and the community is critical in building value.

- Create professional materials for your message that exude strategy and organization. This can be more easily achieved with AI technologies in design and copy.

2. Direct Asks

Fundraising is strengthened by relationships, and people in small communities often know each other. This is a significant advantage of living in a small town. If they don't know each other directly, they are likely just one degree of separation away. Whenever possible, meet with people in person when fundraising. This applies to both individuals and business owners.

3. Snail Mail Campaigns

People in smaller communities tend to check, scan, and read what arrives in their mailbox. Direct mail campaigns, when done well, can be effective—particularly when the envelopes are hand-addressed and the letters are signed. A bonus is when a board member or executive leader adds a personal note directly addressing the recipient. Fundraising is driven by relationships, and people most often support those they trust and know. Seeing a direct handwritten message from a trusted source has power.

Now, how do you get a mailing list? If you don’t have an existing list, one can be purchased. A quick Google search will yield several options. There are various criteria for determining who is included in the list, but this approach can be somewhat scattershot. A better option is to "borrow" an existing list or set of lists. Working with other civic organizations, churches, or local government entities can sometimes result in a mailing list being provided directly to a mail house as a one time act of goodwill or in exchange for future collaborations, services, or marketing resources. Any donations you do receive in the campaign are the start of your own mailing list. 

4. Email Campaigns

While less personal than a direct mail campaign, email campaigns can be an effective follow-up instrument. The same individuals who receive a direct mail piece can be prompted to give when they receive a follow-up email. When possible, send both. Sometimes you may not have a physical address for someone, and email may be the only path or vice versa. If an email is your only form of communication, it is worth utilizing. Just work to personalize the emails in similar ways that you would with a direct mail piece. 

5. Social Media Crowdsourcing

This form of fundraising is further from the most effective means of fundraising—an in-person ask. Social media fundraising is more of a dice roll, but it can still be a secondary component of a fully realized fundraising campaign. The various online platforms perform better through different approaches (which are constantly changing), but the shorter and sharper your messaging can be, the better. "Short" in the sense that the "what" and the "why" are delivered with brevity, understanding how interactions on social media operate. “Sharp” in the sense that the messaging is strong and is accompanied by evocative imagery or video. 

6. Volunteerism/Calls to Action

In small communities, volunteerism is invaluable. It may not always translate into direct dollars, but it is a foundation by which to build strong community commitment, cultivate potential donors, and demonstrate value. The Sitka example is a fantastic illustration of this. Involving people directly in projects and programs builds knowledge, momentum, and a deep appreciation for who you are and what you do. If you struggle to build a donor base initially, work to find calls to action for volunteerism. This can be a tremendous firestarter for the future of your fundraising. 

Conclusion

Building a donor base in a small town is a unique challenge that requires a strategic and multifaceted approach. By crafting a compelling and authentic message, leveraging the strength of personal relationships, and diversifying fundraising methods, small community arts organizations can not only survive but thrive. The key lies in fostering a broad base of support that reflects the community's shared investment in its cultural vitality. Through persistent efforts, small-town arts organizations can create lasting connections and secure their future as vital contributors to the local economy and well-being.

Arts Vibrancy in Rural Communities is Achieved through Collective Action

(The following article was written for SMU DataArts’ The Top 30 Most Arts-Vibrant Rural Counties study.)

During a challenging moment building an audience for a summer theatre festival in a rural community, a collaborator of mine remarked, “A community gets the theatre company it deserves.” This comment lingered with me, flipping the notion I had held that the responsibility for successful arts initiatives largely fell on the artists and their work. As I delved into the 2023 Arts Vibrancy studies by SMU DataArts, I found myself revisiting this statement frequently. I concluded that the term "deserves" might oversimplify the dynamics at play. It fails to consider specific actions that artists and arts organizations can and should take to promote arts vibrancy in their cities, towns, and counties. Nevertheless, the communities themselves bear a high level of responsibility.

As we examine SMU DataArts’ findings, let’s acknowledge that certain environmental factors significantly influence the ease of arts delivery in rural locales, a reality reflected in the data. Factors such as community wealth, robust local tourism, and government officials who recognize and promote the arts for economic and community development greatly facilitate the work of artists and arts organizations. This correlation is evident in many of the arts-vibrant rural communities identified. Jen Benoit-Bryan, Director of SMU DataArts, graciously gave me early access to a list of the top 30 arts vibrant rural counties so that I could dig into the data and find the stories behind the numbers. In rural communities lacking advantages like wealth and tourism, achieving arts vibrancy presents a more formidable challenge, though not an insurmountable one. Looking at the data allowed me to uncover how even in less advantaged communities, dedicated efforts by the community and supportive initiatives can bridge the gap, demonstrating that arts vibrancy can be attained through persistent collective action.

What Steps Can a Rural Community Take to Foster Arts Vibrancy?

A rural community may not necessarily receive the art it deserves, but it certainly gets the art it is collectively willing to work for. The majority of any given rural community must demonstrate a willingness to work towards arts vibrancy. Beyond artists and arts administrators, the community at large must actively engage and participate. This commitment is reflected in philanthropic contributions to the arts, volunteerism, engagement through participation as arts observers and arts participants, in-kind donations and services, prominent community figures joining arts boards, and constituents advocating for arts funding from local governments. While community wealth can be advantageous, it is not a prerequisite for success. Every dollar matters, particularly in smaller communities where even modest investments can yield significant results in per capita arts spending.

What Role Can Artists and Arts Administrators Play in Fostering Arts Vibrancy?

In my role as the CEO of the Academy Center of the Arts in Lynchburg, VA, I must discern what my community will support and what it won't, both financially and through engagement. In a free-market society, community support is demonstrated through both earned and charitable contributions. My responsibilities are twofold: first, to provide arts activities that genuinely resonate with the community, ensuring the value of our work is evident; second, to educate the community on the importance of supporting arts vibrancy through engagement, philanthropy, and government backing. Education is key because most people don’t understand the financial pressures on the arts; unaware that ongoing support is crucial for sustaining beloved activities, performances, classes, workshops, and venues.

Examples of Rural Communities Collectively Supporting the Arts

So, what motivates a community to take actions that advance the arts? While major markets have the advantage of extensive arts scenes due to a much larger number of constituents and funders, the key in smaller communities lies in garnering widespread community support. I've noticed that certain types of organizations are commonly found in smaller communities. These are organizational models I have identified before—each an embodiment of a unique synergy with its environment, catering to the specific needs and dynamics of its community. As I examined the communities identified as arts-vibrant by SMU DataArts, I noticed that the unique stories of the arts entities in these communities mapped onto a familiar set of organizational types I have identified in my previous work. 

• The Center: In towns and small cities, The Center is a consolidation of resources and serves as an umbrella organization providing cultural infrastructure for the community.

• The Cultivator: Sometimes the catalyst for artistic output isn’t an artist or an arts organization but an economic development office or a community development corporation. 

• The Enclave: In picturesque and remote landscapes, The Enclave model sees professional artists creating a refuge and artistic home in small communities.

• The Educator: Geared toward youth development, The Educator model utilizes youth arts programs to impact community development.

• The Torchbearer: The Torchbearers work to preserve, celebrate, and activate the traditional art forms that weave the rich tapestry of our American identity. 

• The Facilitator: Private arts focused foundations or arts councils established within communities serve as essential facilitators for arts activities, particularly in smaller locales with limited financial and human resources. 

All of these organizational models work well in smaller communities because of the balance of responsibilities between the community and the arts administrators and/or artists. The arts provided are valued and relatively sustainable, and their achievement of arts vibrancy is supported by varying but strong degrees of community support, including participation, philanthropy, volunteerism, and local government support that is within what a rural community has the capacity to supply.

Hinsdale County, CO (The Center) Population: 775

Located in Hinsdale County, Colorado (the most remote county in the lower 48 states), the mountain town of Lake City is nestled within the San Juan Mountains. The town effectively consolidates resources dedicated to the arts through the Lake City Arts Center. This centralization of support provides a sustainable model for arts funding in a community of only 775 people. Despite its geographic isolation, a thriving community of artists flourishes thanks to this “center” of support. Painters, sculptors, photographers, and musicians all contribute to the town's unique cultural identity through Lake City Arts, a non-profit organization established to provide cultural infrastructure for the area. Housed within the Moseley Arts Center, Lake City Arts offers a diverse program of exhibitions, live performances, and educational workshops. “We have a world-class gallery that houses both professional artists and can serve as an incubator for blossoming artists who are new to the industry,” said Lake City Arts Executive Director Katie Briggs. The organization serves not only as a platform for local talent but also fosters a dynamic space for artistic exchange that the majority of the community values and supports.

Woods County, OK (The Cultivator) Population: 8,587

Woods County, Oklahoma, especially its county seat, Alva, is a hub of artistic vitality. Much of this vibrancy can be attributed to the visionary leadership of Kay Decker and the Freedom West CDC. The CDC operates as a “cultivator” of the arts in the county. Amidst the 2008 housing crisis, Kay recognized the transformative power of the arts as an economic driver and established the Graceful Arts Center, complete with a full-time staff member. Kay’s initiative extended further with the establishment of a Downtown Arts District through a City Municipal Ordinance and the introduction of its First Friday program. These efforts catalyzed a myriad of artistic endeavors, prominently showcased by the Alva Mural Society, boasting an impressive 34 murals and earning Alva the moniker of the "Mural Capital of Oklahoma." The artistic surge also fortified organizations like the Act 1 Community Theatre and some private downtown galleries. Crucially, the Nescatunga Arts and Humanities Council, stewarding the Runnymede Community Space, a renovated former hotel, serves as cultural infrastructure for artists and community activities. This artistic work also utilizes a local foundation, the Charles Morton Share Trust, whose founder was an artist, for local investment. The “cultivating” work by the Freedom West CDC extends beyond state lines, drawing artists from neighboring Kansas and Texas, and enhancing the county's cultural tapestry.

Bath County, VA (The Enclave) Population: 4,049

Bath County, Virginia, nestled in the Allegheny Mountains, boasts a vibrant arts scene with a focus on both visual and performing arts. The world-renowned Garth Newel Music Center has made its home near Hot Springs, VA, an idyllic location for artistic creation and artist retreats. Founded in 1973, this non-profit institution presents over 50 concerts annually, featuring established and emerging chamber music performers drawn to the beauty of this “enclave.” Educational programs offered by Garth Newel further enrich the artistic landscape, providing instruction and performance opportunities for musicians of all ages. 

Along with the Garth Newel Music Center, the Bath County Arts Association (BCAA), founded in 1965, champions artistic endeavors through educational programs, scholarships, and the annual Bath County Art Show. Additionally, you will find the Warm Springs Gallery owned by Barbara Buhr. Buhr also organizes the annual Bath County Plein Air Festival, which brings artists from across the Mid-Atlantic to participate in painting the beautiful landscapes of the area. All of these organizations solidify Bath County's status as “arts vibrant.” The local community supports the continuation of these organizations due to their clear value as economic drivers, community branding tools, and tourism draw.

Nantucket County, MA (The Educator) Population: 14,421

Nantucket County, Massachusetts, benefits greatly from tourism and concentrated wealth, but the community has created an artistic ecosystem that clearly serves the citizens of Nantucket, despite the expectation that arts and culture might be largely curated for outside visitors. In a recent interview, Dr. Jerome Socolof and Dr. Elise Lael Kieffer, the authors of the newly released textbook "Rural Arts Management," shared that smaller communities with high tourism, which are able to sustain their arts ecosystem, always focus on their residents as well as outside visitors. This can be seen in an organization like the Nantucket Community Music Center. This organization, with a major focus on youth development, falls into the category of organizations I call “The Educator.” This non-profit organization builds a culture of music appreciation with a particular focus on youth development through lessons, ensembles, and performance opportunities. The Center runs both youth and adult choirs, a drumline, and a community jazz band, alongside programs like music and movement for young children and workshops on various musical topics. In existence for 40 years, the Nantucket Community Music Center serves as a hub for music education, performance, and community connection on the island. Along with the center, Nantucket boasts a thriving arts scene supported by the Nantucket Cultural District, which unites various arts organizations such as The Artists Association of Nantucket and The Nantucket Island School of Design.

Clarks County, KS (The Torchbearer) Population: 1,933

This is an important community to talk about because it has a very small population of 1,993. The per capita spend doesn’t need to be high for it to be arts-vibrant. The county seat is Ashland, Kansas. Ashland is home to Kansas’s largest barn quilt and is a “torchbearer” for the traditional art of creating large quilt block designs and painting them on plywood or aluminum panels. These painted panels are then displayed on the exterior of barns, sheds, or other buildings. 

Teresa Arnold, a resident of Ashland, Kansas, spearheaded the creation of the state's largest barn quilt with the help of her friends and community members. Inspired by barn quilt designs, Teresa and her network looked for ways to showcase their creations and promote Ashland. The project, funded through donations and volunteer work, resulted in a 30-foot by 16-foot display featuring various quilt squares designed by over 50 participants. Installed on the side of a local grocery store, the barn quilt not only beautifies the town but also serves as a symbol of local tradition and culture, which is a galvanizing community force. 

Hemphill County, TX (The Facilitator) Population: 3,217

In the county seat of Canadian, Texas, there is a historic landmark that has served multiple purposes over the last 100 years. Originally home to the First Baptist Church, built in 1910, the building was purchased by Malouf and Therese Abraham in 1977. The Abrahams converted the former church into their family residence. After 30 years of serving as their home, the Abrahams donated the converted church, their art collection (which includes Norman Rockwell’s "First Day of School"), and their gardens to the community to serve as an art museum, now facilitated through The Citadelle Art Foundation.

The foundation has become a key “facilitator” of the arts in Hemphill County, located in the Texas Panhandle. It manages the Citadelle Art Museum, which boasts a diverse permanent collection and regularly hosts a rotation of temporary exhibits. Expanding its value to the community, the foundation also delivers educational programs both onsite and offsite through its “Roadshow” program. The organization employs a full-time staff, including its Executive Director, Wendie Cook, who also serves on the City Council for Canadian. This civic engagement by Cook further demonstrates the organization’s wider community involvement and participation.

Presidio County, TX (The Outlier) Population: 5,939

Some communities are just so unique in their circumstances that they are almost impossible to replicate. This is the case for Marfa, Texas in Presidio County. It is important to talk about though because it redefines how we think of rural communities and their relationship to the arts. Marfa became a beacon of contemporary art following artist Donald Judd's arrival in the 1970s. Judd's vision transformed this remote West Texas town into a cultural hub, marked by its minimalist aesthetics and expansive desert landscapes. Central to Marfa's arts scene is the Chinati Foundation, founded by Judd, which occupies a former military base and showcases his large-scale minimalist installations alongside works by other artists. The foundation's presence anchors Marfa's artistic identity and draws visitors from around the globe. Complementing the Chinati Foundation is a second foundation, the Judd Foundation, and institutions like Marfa Contemporary, The Crowley Theater, and Ballroom Marfa, which exhibit contemporary art and host dynamic cultural events that explore the intersection of art, music, and culture. Marfa's art galleries and public installations further enrich the town's cultural landscape, offering spaces for both local and visiting artists to showcase their work. However, what truly sets Marfa apart is its tight-knit community, where residents actively engage with and support the arts through participation in cultural events and initiatives. In Marfa, collective creativity flourishes, making it a truly unique destination for art lovers and adventurers alike.

Collectively Work for Arts Vibrancy in Your Community

In my work with Small Town Big Arts, I've observed that thriving small communities often owe their arts vibrancy to one or two remarkable individuals who exhibit incredible selflessness and charisma, like Kay Decker in Woods County, OK. These individuals drive the community's artistic endeavors with passion and perseverance. However, such reliance on a few individuals will not sustain arts vibrancy. If these individuals are the primary drivers for the arts in your community, it's crucial  to plan for succession by encouraging more community members to step forward and support the arts through collective action.

While special individuals like Kay Decker serve as catalysts, sustained arts vibrancy emerges from collaborative efforts involving not just artists and arts administrators but also local governments, local businesses, non-profits outside of the arts, and community members. Arts Vibrancy driven by a few dynamic individuals won't outlive any one individual’s actions. Sustained arts vibrancy in rural communities is achieved through collective and ongoing efforts, which can then become deeply embedded in the identity and established culture of a community.

The Arts University I Attended Closed, and a College Theatre Program I Taught For Was Cut, but Please Don’t Talk About the Arts as a Victim

Over the course of just two days, a college theatre program I previously worked for was cut, and my undergraduate alma mater, an arts school, closed with no warning. In response to these closures, I have had many conversations and observed online commentary. As I have digested the responses, I want to state that I don’t think the arts are in danger, but the way colleges across the country are financially structured certainly is. I also sincerely believe this is a time for us to examine what we model for students in the arts, our responses included. Generally, feeling sorry for the arts as a victim isn’t helpful. This doesn’t mean that people losing their jobs are not victims—they are—but I am speaking about the arts as a whole. The arts remain powerful and extremely valuable, if we make them so. 

Since the arts are alive and well, let’s talk about this moment differently. The arts manifest in many ways, both traditional and new. Humans need and want to express themselves through a wide range of mediums. Even with the advent of AI advancements, humans will create things, and other humans will engage with those creations. What is falling apart are the business models of small academic institutions and, as I have discussed in previous posts, some of the business models that deliver the arts.

Let’s start with the place I taught at 9 years ago, the University of Lynchburg. At the same time that the University of Lynchburg cut its theatre and music programs, the other liberal arts college in my town, Randolph College, has expanded its arts offerings to include graduate programs in the arts and humanities. Both actions are an effort to change the business models of the institutions. As an artist, you would obviously prefer to find yourself in an institution that is using the value of the arts to try to reinvent itself, but I also understand why the University of Lynchburg made the decisions they did. I don’t have to like the fact that arts programs were closed and that artists lost their jobs to see the clear rationale that the university chose to use for their eliminations; according to the goals of the university, these programs were not garnering the number of student majors to justify their continued existence.

Now, I might get into some hot water here, but I think those in the arts need to understand that whether we like it or not, we exist in a capitalist society, and so do our academic institutions. Artists are going to be impacted by their value proposition to any institution that exists in this system and that they may find themselves affiliated with. The claim that the arts are a victim and that they must be saved for their own sake is not helpful to the longevity of the arts, and this approach is certainly not something to model for students who are heading into a world, fair or not, where they will continually be accountable for their work. Bertolt Brecht referred to art as a hammer, something to actively wield, not something that should passively exist while being broadly revered.

Now, before I leave this possibly misunderstood set of statements, I want to share that I think the value of the arts is wide-ranging and can be hard to pin down. I am not simply talking about value in regards to dollars in and dollars out. The arts in a liberal arts setting can be widely valuable as retention tools, for holistic learning, and as a means of building community pride, much like sports programs. There is an important lesson for artists who find themselves affiliated with small academic institutions, particularly long-term tenured track professors, something that those of us in the nonprofit culture sector have known for a long time: your existence is dependent on not only the work you do but how you engage a wider community in its value.

Now, the University of Lynchburg saw the value of their theatre and music programs tied to enrollment. I could and can make an argument that maybe there is a bigger lens to look through in this value proposition. With that said, having taught at the school, I felt clearly the wider value the shows I directed and the courses I taught had to the institution a decade ago. This was displayed in the lack of admission and advancement marketing for the theatre program, campus-wide engagement in performances, and the college’s investment in the crumbling facilities we occupied. For three years, I tried to engage the wider campus community through cross-departmental projects, and I attempted to move the professional theatre company I was running at the time into a residency with the theatre department, adding to the curriculum and professional development opportunities for our students. The attempted residency failed due to interdepartment fear of change, and the work I created across departments was met with silence from the administration leading the institution at that time. The writing was on the wall for me and the gears of today’s program elimination were already in motion, even if the elimination wasn’t fully realized yet. I wasn’t going to be an important part of their future, and I needed to get out. I didn’t even blame the school. Organizations have to make choices about what they prioritize and what they don’t. It was clear to me, a decade ago, that my work was not a part of the strategic future of the school. With this, I needed to be affiliated with an institution that valued what I did, so I was proactive, and I left. I understood clearly that I had value, the arts had value, and I wasn’t going to sacrifice either for the institution. 

Now, the University of the Arts, my undergraduate program that just suddenly closed, speaks to something else. This was an institution built around the arts. When attending school there, my theatre program was central to the identity of the wider school and community. It had clear institutional value that was baked into the whole package. I know it was extremely rewarding to teach there, and my time as a student taught me to value myself and my role in the world. Their closure is a statement on the strength of a small liberal arts college nestled in the heart of downtown Philadelphia, where the value and cost of its Center City buildings was an added pressure point. As enrollment dropped, as it is all over the country, and expenses went up, the environment became a pressure cooker. We will find out more in the coming months about what specifically happened—nefarious real estate shenanigans or just mismanagement—but regardless, the business model of a downtown liberal arts college with a small endowment and a shrinking student body now has vultures flying overhead. The institution's value proposition was failing, not the arts themselves. 

I am deeply saddened that there is a probable world in which young dancers, painters, actors, and musicians aren’t populating the “Avenue of the Arts” (the portion of Broad Street that the university occupied), but rest assured, these artists will find homes. They will create art, and the world will be impacted by their gifts. It is just that the vessel they occupied at the University of the Arts was a failed institution that was unable to adapt to a changing world. 

All in all, what I am saying is that as a creative community, we must model to student artists that they must work to build environments where they are valued, that they work hard for that value, educate people on that value, and that adaptation and evolution are key to survival in any profession, even the arts. Culture is power. The arts are powerful if you choose to wield them. Institutions, buildings, administrations, and traditions fade, but the need to express and the opportunities to find value in human expression will never die. Make sure our students know this as we forge new paths for supporting, teaching, and delivering the arts.

The Indispensable Role of Strategic Planning in Enhancing Small Town Arts Organizations

Strategic planning is not merely a bureaucratic exercise—it's a vital tool that small town arts organizations can use to define their future and ensure their relevance and resilience in the community. In areas where every resource counts, strategic planning helps these organizations maximize their impact, streamline their operations, and foster deep, enduring connections with their audience.

With all this said, strategic planning can be extremely difficult for small organizations in small communities. Bandwidth is at a premium and this includes bandwidth of time, finances and people. Often strategic planning is pushed off or even ignored. I want to make a case why it shouldn’t happen “one day” or that one shouldn’t ignore its importance in the face of executing today’s tasks and projects. I also want to share a FREE way to facilitate a professional and strong strategic planning process.

Making the Case

Engaging Constituents Through Strategic Planning

One of the foremost benefits of strategic planning is its ability to engage both internal and external constituents. Internally, the process encourages participation from all levels of the organization, from board members to volunteers, creating a sense of ownership and alignment with the organization’s goals. This inclusive approach not only harnesses diverse perspectives but also strengthens commitment across the organization’s team.

Externally, strategic planning serves as a bridge to the wider community. It opens dialogues with stakeholders, patrons, and potential partners, helping to understand their expectations and how the organization can serve them better. By engaging these groups in meaningful conversations, organizations can enhance their community presence and relevance.

Crafting a Professional Forward-Facing Document

A well-developed strategic plan also acts as a critical professional document that articulates the organization’s vision, mission, and the strategic paths it intends to pursue. This document is crucial for building trust and credibility among potential funders, donors, and collaborators. It demonstrates a clear, thoughtful approach to sustainability and growth, which is often required in grant applications and fundraising campaigns. Recently I interviewed Margaret Hancock, the Executive Director of the Virginia Commission for the Arts for the Small Town Big Arts Podcast. She shared that she looks at their grants as an investment in the organizations, artists, and projects they support. If you went to a financial investor in the for profit sector, you would be expected to effectively communicate not just your current status but your ambitions and structured approach to achieving your goals. The same is true in the non-profit sector, even when you are small. A formal strategic plan is an invaluable tool in constituent building and funding efforts.

Fostering Cohesion Across Projects and Initiatives

Furthermore, strategic planning helps create cohesion across various projects and initiatives. Arts organizations often manage multiple programs and activities that can diverge in purpose and execution. A strategic plan ensures that all efforts are aligned with the overarching goals of the organization, ensuring consistency and synergy. This alignment is essential for maintaining focus and directing resources efficiently, enhancing the organization's ability to make a significant impact. This can be especially true when your workforce is largely volunteer, which is often the case with small organizations in smaller communities.

An Open Source and FREE Way Forward!

Leveraging the Strategic Planning Workbook by the Virginia Commission for the Arts

So, you are asking yourself, I barely have the funds to execute artistic projects, let alone hire a professional consultant to facilitate a strategic planning process. I have good news. The Strategic Planning Workbook developed by Spark Mill and provided by the Virginia Commission for the Arts is an invaluable and FREE resource. It guides organizations through a visual and action-oriented seven-step process, tailored specifically for small to mid-sized arts groups. The workbook not only assists in developing a strategic plan but also ensures that the plan is practical, adaptable, and ready to be implemented effectively.

Arts organizations that are either embarking on or revising their strategic plans will find this workbook particularly useful. It offers not just guidelines but a pathway to transforming strategic planning from a daunting task into an invigorating process that propels the organization forward. It has also been designed by a grant giving entity, providing a structure and approach that will be successful when speaking with, presenting to, and engaging potential funders.

In conclusion, strategic planning is crucial for small town arts organizations, providing a framework that supports growth, engagement, and sustainability. With the right tools and resources, such as the Strategic Planning Workbook, these organizations can look forward to not just surviving but thriving in their communities.

Keeping Tradition Alive: “The Torchbearer Organization”

In an earlier blog and podcast, I identified five organizational models that I have seen pop up again and again in small communities across America. As I continue my work to develop Small Town Big Arts, I would like to share a sixth model that I am discovering: “The Torchbearer Organization.” Across small towns and rural America, a vibrant network of organizations acts as custodians of our American cultural heritage. These torchbearers tirelessly work to preserve, celebrate, and perform the diverse art forms that weave the rich tapestry of our American identity. Today, I will take you on a journey across four distinct corners of the country, exploring four “Torchbearers.”

Virginia's Crooked Road: A Musical Highway

Nestled amidst the breathtaking Appalachian Mountains of Southwest Virginia lies the Crooked Road: Virginia's Heritage Music Trail. This unique driving route winds its way through historic towns and communities, connecting visitors with the living legacy of American old-time, bluegrass, and country music. Along the way, you can catch foot-stomping performances at local venues, delve into the stories of legendary musicians at museums, and even try your hand at traditional instruments during workshops. The Crooked Road is more than just a tourist destination; it's a testament to the enduring power of music to connect communities and keep traditions alive.

North Carolina's Swannanoa Gathering: A Celebration of Roots Music

Deep in the Blue Ridge Mountains of North Carolina, nestled amidst a landscape of rolling hills and rushing rivers, we find the Swannanoa Gathering. This annual event is a haven for lovers of traditional American roots music, attracting renowned musicians, educators, and enthusiasts from all corners of the country. Over a week of workshops, jams, and concerts, participants delve into a vast array of musical styles, from old-time fiddle and banjo to bluegrass and folk. The Swannanoa Gathering fosters a deep appreciation for the roots of American music, ensuring these traditions are passed down to future generations.

Mississippi: Where the Blues Lives On

The Mississippi Delta, a cradle of American music, resonates with the soulful melodies of the blues. The B.B. King Museum and Delta Interpretive Center in Indianola, Mississippi, stands as a tribute to the legendary bluesman and countless other artists who poured their hearts and souls into this powerful art form. Visitors can explore interactive exhibits that trace the history of the blues, witness captivating performances by contemporary blues artists, and gain a deeper understanding of the cultural context that birthed this genre.

Further south, the Mississippi Blues Trail winds its way through the heart of the Delta, marking the sites where blues legends lived, performed, and recorded their music. From juke joints where the blues originated to cemeteries where icons like Robert Johnson rest, the trail offers a poignant pilgrimage for music lovers seeking to connect with the soul of the blues.

South Dakota's Aktá Lakota Museum: Honoring Native American Traditions

Our journey concludes in South Dakota, where the Aktá Lakota Museum and Cultural Center serves as a vibrant hub for the preservation and celebration of Lakota culture. Through captivating exhibits, visitors gain insight into the rich history, traditions, and artistic heritage of the Lakota people. The Center also offers a platform for contemporary Lakota artists, showcasing their work through exhibitions, artist talks, and educational programs. By fostering cultural understanding and appreciation, the Aktá Lakota Museum ensures that the Lakota way of life continues to thrive for generations to come.

These torchbearer organizations represent just a handful of the countless institutions across the country that dedicate themselves to preserving and celebrating America's diverse artistic landscape. From the toe-tapping tunes of the Crooked Road to the soulful cries of the Mississippi Delta blues, these organizations ensure that the rich tapestry of American art forms continues to resonate for years to come.

Tell your own story: The power of “docudramas” in small communities

In today's digitally connected world, small communities often find themselves with no one telling their story. As local newspapers disappear under the weight of lost ad revenue usurped by social media and internet search engines, and when local politics start to echo national politics, small communities are overshadowed by large market narratives and voices. As our media and politics become nationalized or even globalized, so too is our consumption of the arts through streaming services and social media platforms. Who will tell your community’s story? You can.

Within our small, tight-knit communities lies a wealth of untold stories, struggles, and triumphs. This is the perfect time to introduce your community to docudrama, a powerful storytelling medium that not only captures the essence of the communities it engages but also deeply connects with its audience.

In my former life as a theatre artist, I was drawn to docudrama because of its ability to authentically serve an audience by telling their stories and because of its commercial viability. People are naturally drawn to their own stories, the stories of their neighbors, or their community's history. I would argue that it is one of the strongest ways for a new arts organization or an arts organization struggling to find its way to establish strong relationships with a community, developing new and invested volunteers, donors, and consumers.

So what is “docudrama”? Live theatre docudrama, also known as documentary theatre, is a unique and captivating format that blends factual storytelling with the immediacy and power of live performance. These plays draw inspiration from real-life events, historical moments, or personal stories, often utilizing primary source material like interviews, transcripts, and news reports. Verbatim dialogue, directly quoting the source material, is a common technique, allowing the real voices of the people involved to shine through. Actors portray these real individuals (and sometimes they portray themselves) with minimal fictionalization, and the experience may even incorporate multimedia elements like projections, soundscapes, or tangible objects to further immerse the audience. As a result, live theatre docudrama serves not only to educate but also to provoke thought, spark conversation, and foster a deeper connection with the realities and subjects it explores. This unique approach offers a powerful alternative to traditional community theatre, allowing audiences to engage with real stories on a deeper emotional level and gain fresh perspectives on historical events and contemporary issues from their own town, county, or region. For small communities, docudramas offer a platform to share their own experiences, challenges, and achievements and not just replicate or emulate the stories of others.

In the February episode of the Small Town Big Arts podcast, I interviewed James McManus, an accomplished playwright with a career spanning multiple award-winning works. He has written plays, including "Love on San Pedro," "Dorothy 6," "Underground," "Cherry Smoke," and "Blood Potato." Notably, his play "Cherry Smoke" garnered him the prestigious Princess Grace Award in Playwriting in 2006. He has also received recognition through the Helen Merrill Playwriting Award and is an alumnus of the respected New Dramatists program. Some of his work, like "Love on San Pedro," is in the style of docudrama. The podcast is worth a listen to hear his process and how the process has benefits to the artists and the community way beyond the creation of the play itself.

By bringing real-life stories to the stage, in the way James does, these plays humanize the experiences of individuals within these communities, allowing viewers, inside and outside the community, to connect with the stories on a personal level. Whether it's a story of resilience in the face of adversity or a celebration of cultural heritage, docudramas have the power to bridge the gap between communities and spark meaningful conversations. I recently presented for the Literary Managers and Dramaturgs of the Americas digital conference. Most organizations that can afford a literary manager or dramaturg tend to be in large markets. I tried to think through how they could help build a bridge from their larger market to these smaller markets I served. I immediately thought of docudrama because there is fertile ground for stories in so many small communities and through telling these stories, understanding can be built across the cultural divide of our times, rural vs urban.

To share an example of where a bridge of understanding like this was built, I looked to Cornerstone Theatre Company in Los Angeles. Cornerstone is known for its docudrama approach to their work. Much of their work is focused on Los Angeles, but their production of "California: The Tempest" moved beyond Los Angeles and wasn't your typical Shakespearean adaptation. Playwright Alison Carey reimagined the story to grapple with modern Californian issues like food insecurity and environmental challenges. Through residencies in ten California communities over a decade, Carey incorporated local stories and themes, ensuring the play resonated with each audience. The year-long tour then brought the play to life in these communities, big and small, with local actors joining the cast and the production evolving to reflect each location's specific concerns. These performances transcended entertainment, fostering a unique theatrical experience that addressed the social and cultural realities of California.

In addition to their social impact, docudramas also offer economic opportunities for small communities. By showcasing local talent, landscapes, and culture, these productions can attract tourism and investment, boosting the local economy and creating jobs. Furthermore, the exposure gained from being featured in a docudrama can help small businesses and artisans reach new audiences and markets. Take a look at what “The Lost Colony” has been to the Outer Banks in North Carolina.

“The Lost Colony” is an outdoor symphonic drama reenacting the story of Roanoke Island's first English colonists. Debuting in 1937, it holds the title of the longest-running symphonic drama in the United States. Performed every summer on Roanoke Island itself, the play brings history to life for audiences. While the drama takes some creative liberties, it portrays the colonists' struggles, the birth of Virginia Dare, the first English child born in America, and the enduring mystery of their disappearance. Though the fate of the real Roanoke colonists remains unknown, The Lost Colony continues to be a beloved tradition on the Outer Banks and helps drive tourism and is a huge economic driver for the local economy.

However, it's essential to approach the creation of docudramas with sensitivity and respect for the communities involved. Theatre makers must prioritize authenticity and accuracy, ensuring that the stories portrayed on stage reflect the lived experiences of community members. Collaboration and consultation with local stakeholders are crucial to ensuring that the narrative is told with integrity and respect for cultural nuances. In my interview with James McManus, he speaks of the sensitivity needed to successfully and truthfully tell a community’s story. The beauty of the form though exists in the creation process itself, in which the playwright meets with and works directly with members of the community in developing and producing the plays.

In conclusion, docudramas have the power to shine a spotlight on the rich tapestry of stories within small communities and amplify their voices in the global conversation. By combining the authenticity of documentary stagecraft with the emotional impact of a community’s own stories, these productions have the potential to foster empathy, drive social change, and stimulate economic growth. In an age where the voices of small communities often go unheard, docudramas offer a powerful platform for them to share their stories with their neighbors and maybe even the wider world.

Want to live in an “arts-vibrant” community?

Each year, SMU DataArts releases a list of the most arts vibrant communities in America and this includes a small community category. How does SMU DataArts determine arts vibrancy? They determine it by measuring 13 key variables (that are pretty closely weighted). These variables fall under three boarder categories that include: Art Providers, Arts Dollars, and Government Support. Each category and the coinciding variables, play integral roles in fostering a flourishing artistic landscape.

Want to make the SMU DataArts’ list? Work to improve the following:

1. Art Providers:

An essential foundation for a vibrant arts community lies in the presence of diverse and abundant art providers. This encompasses various elements:

**Independent and Freelance Artists:** A high density of independent and freelance artists infuses creativity and innovation into the community. Their presence not only diversifies the artistic offerings but also nurtures an environment conducive to experimentation and boundary-pushing in the arts.

**Arts and Culture Employees:** Having a significant number of individuals employed within the arts and culture sector bolsters the community. Their expertise, dedication, and contribution help sustain a dynamic artistic ecosystem.

**Arts and Cultural Organizations:** The presence of robust and diverse arts and cultural organizations enriches the community by offering platforms for artists to showcase their work, fostering collaborations, and engaging with the public.

**For-Profit Arts, Culture & Entertainment Firms:** These entities contribute to the economic vitality of the arts community by investing in artistic endeavors and creating avenues for commercial viability within the cultural sphere.

2. Arts Dollars:

Financial sustainability is crucial for the growth and sustenance of an arts community. Several financial aspects contribute to its vibrancy:

**Revenue from Nonprofit Arts and Cultural Organizations:** Strong revenue generated by these organizations signifies a healthy demand for artistic experiences within the community.

**Contributed Revenue:** Robust contributions from patrons, sponsors, and donors not only provide financial support but also indicate community engagement and support for the arts.

**Expenses of Arts Institutions:** Sizeable expenses denote significant investment in artistic production, curation, and presentation, showcasing a commitment to quality and excellence in the arts.

**Compensation for Staff and Artists:** Competitive compensation for individuals working within nonprofit cultural organizations attracts and retains talent, ensuring a high caliber of artistic output.

3. Government Support:

Government support plays a pivotal role in nurturing an arts ecosystem. This includes support at various levels:

**State and Federal Arts Funding:** Allocation of financial resources from state and federal bodies demonstrates a commitment to fostering a vibrant cultural landscape.

**Arts Grants:** Grants provided by government entities at local, state, and federal levels offer crucial financial assistance, enabling artists and organizations to innovate and create.

**Local Arts Funding:** Investment at the local level signifies grassroots support for the arts, often contributing to community engagement and accessibility to artistic experiences.

The synergy between these three areas—Art Providers, Arts Dollars, and Government Support—creates a robust foundation for a vibrant arts community. Arts vibrant communties emerge when these elements align and support each other, contributing not only to the cultural richness but also to the economic and social vitality of the community at large.

If you are interested in learning more, I would also recommend watching the 2023 SMU DataArts webinar: Arts Vibrancy Spotlight: Art and Resilience in Vibrant Small and Mid-Sized Communities

Organizational models suited for small towns

Like a pair of shoes, someone who wears a size 5 shouldn’t wander around in a size 12. You'll never gain speed and will often trip and fall because the shoes you are wearing were not meant for your feet. I want to emphasize an important point for those delivering the arts in smaller communities: Delivering the arts in a rural community should not be a mini version of how it's done in a major market. Here are seven organizational models that appear frequently in the research I have conducted. They are well-suited to communities with smaller populations. The shoes fit the feet.

1. The Collaborative

Overview

The Collaborative model reduces financial risk, bringing together non-profits and for-profits to fulfill the shared mission of providing arts to the community.

Implementation

In Keene, NH, Terra Nova Coffee Roaster stands as an excellent example. Owners Eliza and Jeff Murphy have transformed their roastery into a hub for arts and culture, supporting Nova Arts' concerts through a shared space model.

Impact

This collaborative model is not only a collective revenue approach but the tactics employed also share the weight of the expenses. Thanks to this, a community of about 20,000 people can support an authentic live music scene.

2. The Center

Overview

In towns and small cities,  where most small cultural organizations lack the infrastructure to operate a facility, The Center steps in as an umbrella organization providing essential cultural infrastructure.

Implementation

Jackson, WY, boasts a center literally called, "The Center," supporting resident nonprofits with dedicated space and collaborative programming. 

Impact

By centralizing resources, The Center provides smaller organizations the bandwidth to focus their energies on delivering their artistic work. These smaller nonprofits are unencumbered by the financial weight of facility maintenance and upkeep.   

3. The Facilitator

Overview

Private arts focused foundations and arts councils established within communities serve as essential facilitators for arts activities, particularly in smaller locales with limited financial and human resources. These foundations and councils, often structured as nonprofits, play a crucial role in nurturing and promoting cultural endeavors where traditional avenues of support may be lacking.

Implementation

For instance, in Council Grove, KS, the Council Grove Arts Council stands as an example of such facilitation. Operating as an all-volunteer nonprofit organization, the Council Grove Arts Council spearheads a number of initiatives. From organizing a music festival that showcase local talent to offering a spectrum of arts courses catering to all ages and skill levels. Additionally, through initiatives like public mural projects and an annual youth musical production, the council ensures that the arts have a place in this small community.

Impact

Despite limited resources, the Council Grove Arts Council has managed to cultivate the arts in Council Grover. Through its concerted efforts, the council has succeeded in not only providing platforms for artistic expression but also in fostering a sense of community cohesion and pride.

4. The Enclave

Overview

In picturesque and remote landscapes, The Enclave model sees professional artists creating a refuge and artistic home in small communities.

Implementation

Appomattox, VA, hosts Wolfbane Productions, a theater company that has made the rural area its home. The synergy between the artists and the community, coupled with tourism ties, showcases the symbiotic relationship.

Impact

This model not only attracts audiences from outside the community but also fosters a lasting bond between the artists and the small town, emphasizing the value of a shared cultural experience.

5. The Educator

Overview

Geared toward youth development, The Educator model utilizes creative youth programs to impact both community development and the growth of its participants.

Implementation

Sitka Fine Arts Camp in Sitka, AK, and Riverzedge Arts in Woonsocket, RI, embody this model by providing youth with creative and workforce skills that contribute to both their personal development and the wider community.

Impact

Beyond fostering creative skills, these organizations contribute to community development, turning former symbols of decline, like campuses and neighborhoods, into thriving hubs of artistic and economic activity.

6. The Torchbearer

*This is an addition since original publication.

Overview

Across small towns and rural America, a vibrant network of organizations acts as custodians of our American cultural heritage. These torchbearers tirelessly work to preserve, celebrate, and perform the diverse art forms that weave the rich tapestry of our American identity. They preserve but also serve as a tourism destination.

Implementation

The Mississippi Delta, a cradle of American music, resonates with the soulful melodies of the blues. The B.B. King Museum and Delta Interpretive Center in Indianola, Mississippi, stands as a tribute to the legendary bluesman and countless other artists. Further south, the Mississippi Blues Trail winds its way through the heart of the Delta, marking the sites where blues legends lived, performed, and recorded their music.

Impact

These torchbearer organizations represent just a handful of the countless institutions across the country that dedicate themselves to preserving and celebrating America's diverse artistic landscape. These organizations ensure that the rich tapestry of American art forms continues to resonate for years to come.

7. The Cultivator

*This is an addition since original publication.

Overview

In some small communities, the catalyst for artistic output isn’t an artist or an arts organization. Sometimes it is an economic development office or a community development corporation.

Implementation

In Woods County, OK, the Freedom West CDC is this model. During the 2008 financial crisis, they observed that communities that were weathering the moment best were those with strong arts communities that were serving as an economic catalyst for the wider communities they served. Through grant writing, establishing a downtown arts district, and revitalizing old buildings as arts spaces, the Freedom West CDC has established the town of Alva (the county seat) as an arts rich town.

Impact

These entities are not led by artists or arts administrators but understand the economic power and utility of the arts. The understand local, state and national bureaucracies and can leverage funding, initiatives, and incentives to drive their communities to utilize the arts as a tool for community development. This opens the door for artistic endeavors and bolsters local arts organizations.

Conclusion

In the vibrant tapestry of smaller communities, the delivery of arts isn't merely a scaled-down version of metropolitan approaches—it's an art form in itself. Each organizational model mentioned embodies a unique synergy with its environment, catering to the specific needs and dynamics of its community.

From the collaborative spirit fostering shared missions to the empowering embrace of cultural infrastructure, these models are testaments to the adaptability and creativity inherent in smaller community settings. The beauty lies not in replication but in innovation—crafting avenues that resonate deeply within the fabric of these towns and cities.

Whether it's the collective strength of partnerships showcased by Terra Nova Coffee Roaster or the nurturing spaces like "The Center" in Jackson, WY, each model underscores a crucial point: amplifying arts in smaller communities demands tailored approaches, embracing limitations as opportunities for inventive solutions.

The success stories—be it Council Grove Arts Council’s vibrant engagement or the symbiotic relationship between Wolfbane Productions and Appomattox, VA—highlight a profound truth: the arts are not just a cultural aspect but a vital bond weaving communities together.

Moreover, the Developer model's focus on youth not only cultivates creative prowess but also serves as a catalyst for community revitalization. Sitka Fine Arts Camp and Riverzedge Arts stand as beacons, illuminating the path toward a harmonious blend of personal growth and communal prosperity.

In delivering the arts to smaller communities, it's not about fitting into a predefined mold but about sculpting an organic, symbiotic relationship between artistic expression and community ethos. Each model is a brushstroke in a larger canvas, painting a narrative of resilience, innovation, and the transformative power of the arts in fostering vibrant, interconnected communities.

A successful music scene in rural America

I had the great pleasure of visiting Keene, New Hampshire for the Radically Rural conference, which Keene hosts each year. To begin, I highly encourage attending this annual September economic development conference. There is an arts track that you can engage with but it also helpful to hear about rural America on the whole. The arts after all are a part of a larger ecosystem and hearing about how housing, employment, and the environment impact smaller communities can help an arts professional see how they can both respond to their community’s needs and also understand the larger forces at play.

Keene, NH has about 23,000 residents and is the home of Keene State College. It is two hours from Boston and about three hours from Burlington. There is no major interstate and the last leg of the drive from Logan International Airport weaves down two lane roads. When you enter the downtown, what is most striking is the lack of empty storefronts. In any town or city in America in 2023, that is a big deal and the sign of a very healthy community. The town has many unique qualities but Keene is known for its entrepreneurship and is home to the Hannah Grimes Center of Entrepreneurship, one of the founders of the Radically Rural conference.

Nestled in between downtown and the Keene State College campus is an old brick warehouse. It is home to a fantastic partnership between multiple businesses and organizations. During the day, it is home to Brewbaker’s Cafe. This fantastic coffee shop and eatery is a must when visiting Keene. Also in the warehouse is Brewbaker’s coffee roaster Terra Nova, a vinyl shop, a small florist, a space for art workshops, and there is retail art for sale. At night, the space turns into a music venue as Nova Arts run by Eric Gagne takes over. This music producing entity presents multiple shows a week across genres and is investing in the community’s music scene in a profound way. This continual series of music events is building a culture where the people of Keene can discover new music, create and perform music of their own, and have what so few small towns have; a music scene. Nova Arts also produces an annual festival called The Thing in the Spring, also worth checking out.

How are they doing this?

1. Collaboration

   This is possible because of revenue and expense sharing across entities. Eliza and Jeff Murphy, the owners of Terra Nova and Brewbakers are the economic engine of the collaboration. They lease the space and drive continual commerce through the cafe and its adjoining businesses. The space that they dreamed up when they moved to the warehouse from a previous location is modular in design and the tables and chair set up for the cafe can be reconfigured or moved out of the space for the evening activities. They also invested in a stage and sound equipment for activities. This allows Nova Arts and Eric to utilize the infrastructure for free, while the Brewbaker’s staff runs the bar for the concerts.

2. Umbrella Organization

   Nova Arts is in the process of applying for their federal 501 c(3) designation but needed help to get off the ground. As many of you may know, concert promotion is rarely a money making endeavor, particular at a smaller scale. Eric needed the ability to raise funds (he raises about 40% of his operating costs through sponsorships and grants) and needed the ability to have his payroll and bills processed. This is where Jess Gelter and Arts Alive! stepped in. Arts Alive! is a non-profit organization with the mission to support, grow, and connect a sustainable arts landscape in the Monadnock Region (where Keene is situated). The ability for Nova Arts to scale up their organization over time has also been key to making this work.

3. Vision

   In the October 31st, 2023 podcast in which I interview Eliza, Eric, and Jess, it was clear that this is only the beginning. The entrepreneurial spirit of Keene lives in this team of visionaries. The Terra Nova/Brewbakers project that Eliza and Jeff dreamed up is actually not isolated to their current building. They have hopes to transform an entire block that is dedicated to culture building for Keene. This group is investing in their home and they see this as a step in a larger plan. This vision gives them the endurance and the patience to work through some of the inevitable kinks that arise in building culture in a small community (or any community for that matter).

4. Flexibility

   This is a common theme in success in rural arts delivery. They are adapting to what they find and are inherently agents of change. Agents of change embrace change because they want it. When the environment shifts, they meet it. They are making continual adjustments to the arrangement and the delivery of what they do.

If you are in a small town and want to create a culture of live music, I can’t think of a better model. Seeing what they are doing in Keene was an “aha” moment for me. Running a larger organization that produces music has given me a hyper awareness of what a market failure music presenting is for a small community. The approach in Keene is collaborative though and spreads the financial burden out across institutions. This helps lift up the endeavor and provide the time needed to build a culture of concert attendance, which means a community learning how to take a chance on something they haven’t heard of before. A community needs to learn the joy of discovering new artists and they invest in this educational experience because they believe in the mission of the presenters, just like those in Keene.

Theatre isn’t dying. A business model is.

My early professional upbringing as an arts administrator was in the professional theatre world. Now, I find myself running a multi-disciplinary arts center in a small community, and I can't believe how fortunate I am. This is surprising because I hadn't planned on leaving my dream of directing and producing theatre in LORT (League of Resident Theatres) theatres, but that's how things worked out. As I read article after article about the challenges faced by regional professional theatres, I look at our business model of a multidisciplinary arts center and see a more resilient delivery system for the arts than the professional theatre model I once aspired to work in.

To start, what is happening to the professional regional theatres in large and mid-sized cities? The answer is, a lot, and I believe many are doing a good job of diagnosing it. I encourage you to read the American Theatre article entitled "Theatre in Crisis: What We’re Losing, and What Comes Next." Also, worth a read are Michael Paulson’s recent New York Times article and Peter Marks' piece in the Washington Post.

Subscriptions

The business model, originally built on subscriptions, has been slowly declining for decades as subscription audiences age. COVID was another dramatic blow to this already shrinking revenue model. Companies now have to rely heavily on single ticket sales, which are unreliable, more commercially driven, and drive up marketing costs. Michael Paulson has recently written an article in the New York Times focused specifically on the decline of subscriptions in the regional professional theatre.

The traditional professional theatre producing industry has outgrown demand after a period of growth since the 1950s. The most recent surge, in the 1990s and early 2000s, was propelled by funding for downtown revitalization efforts that rightly used the arts as an economic development tool. Now, many theatres anchored in urban cores are falling victim to national shifts in both where Americans work and where they can afford to live. The remote work movement has shifted a large percentage of the “after work” audience away from downtown desks to suburban home offices. They are not traveling to the urban core where many of these companies are located as often. Affordable housing has also driven people away from the high cost of living in major cities to smaller and more affordable communities throughout the United States. Smaller communities like my own in Virginia benefit from this trend.

Changes in the labor force

The social and political movements of the last three years have put pressure on theatre companies and their hiring and HR practices. Payroll and workforce-related costs have gone up due to workforce empowerment during the "great resignation," but this is happening at a difficult time for LORT theaters as their revenues are declining. Most of these organizations are also unionized, which compounds the calls for workforce change and their associated costs.

Changes in programming

Social and political movements have also influenced what companies were producing over the last three years. Artistic Directors responded to the social and political upheaval of 2020 with productions directly addressing the issues of the time. There are theories about the impact this had on ticket sales. One theory is that these production choices might be turning off a large portion of traditional ticket buyers, even those who agree with the political stances being espoused. Perhaps audiences want a break from the constant social strife presented through social media and 24-hour news cycles. In other words, many audiences (though not all) may seek art as a diversion, not activism. This doesn’t mean there aren't audiences for the work being produced, but building a new audience with this interest within a few years is a major task.

Charitable giving

Charitable giving has been shifting for several years. National, regional, and local funding that helped launch and sustain many of these organizations is increasingly directed towards other initiatives like climate, poverty, and political action. This shift has been gradual, but the now-pressing climate crisis and national political upheaval driven by income inequality are accelerating the flow of charitable dollars away from the arts.

Facility depreciation

Lastly, as these organizations age, so do their buildings. Less attention has been given to this aspect, but I am well-acquainted with it as I oversee two theatres in our venues. Keeping up with facility depreciation requires robust revenue streams that cover not only production and associated costs (which are rising) but also ongoing maintenance, repair, and upkeep. The hard truth is that when constructing a building, the nonprofit sector often adopts an optimistic outlook on revenue generation capacity to secure construction funding. During inevitable turbulent moments like recessions or global pandemics, operating models struggle to cope with the financial strain imposed by these buildings. Notably, many of the theatres closing are in the 20 to 30-year age range, which aligns with the lifecycle of major equipment like HVAC systems and roofs. These facility costs, coupled with rising utility costs, create significant strain on available cash for operating expenses.

Theatre isn’t dying. A business model is.

Despite the attention-grabbing headlines suggesting the potential demise of the American theatre, this is not what's happening. Instead, we might be witnessing a significant change in how professional theatre is produced due to a declining business model. The art of theatre, where live actors perform for a live audience, is not ending. I understand that professionals dedicated to the LORT model might feel like this signifies the possible death of their industry, but the live theatre ecosystem extends beyond the highly visible companies belonging to Theatre Communications Group. The referenced articles provide examples of where professional theatre might be heading. I don't possess clairvoyance about the future, but I can share insights with my former colleagues and friends in the sector.

To begin, I'd like to focus on a quote from the aforementioned American Theatre article. Clive Worsley of the California Shakespeare Festival suggests an approach where they provide infrastructure for smaller organizations producing theatrical work. "The idea is that we become a multidisciplinary performing arts venue," said Worsley. "Cal Shakes will be the resident theatre company at the center of it. Our education programs will continue, and we will make the space available to other performing arts groups to share with their audience, merging our audiences. We will also engage in revenue-positive rental activities." I believe Mr. Worsley is on to something.

A recent opinion piece by Monica Byrne in the Washington Post calls for a changing of the guard and argues that professional theatre, as currently produced, doesn't deserve to continue. While I may not fully agree, the concept of creating space for a new generation of artists who are more diverse and closely connected to new audiences is worth considering. Perhaps we can maintain some traditional institutions while also opening doors for a new generation.

What about a new model? A call for “cultural infrastructure.”

I oversee the Academy Center of the Arts in a community of 80,000 residents (with a greater area population of about 250,000) in Central Virginia. While my art center is not a theatre company, live theatrical events do take place in our venues. Over my eight years with the organization, including a major historic theatre restoration and reopening, I've realized that a significant value we offer our community is our cultural infrastructure. We had the capability to undergo a $30 million dollar renovation and facility expansion, something most smaller cultural organizations in our community couldn't manage. In return, we provide our venues at reduced costs to five resident companies, as well as various "performance partners," such as emerging performing arts organizations and youth-oriented dance studios. We also collaborate with concert promoters. The revenue from rentals and ticketing fees covers space usage costs and enhances our community impact. If we were producing our own theatrical productions at the same volume, we'd be in financial trouble. By not producing our own artistic work, we lower overhead and expenses while still promoting and nurturing the arts.

In addition to rental revenue, we feature national touring acts. This is essential for driving our annual giving and corporate sponsorship programs. While these shows generally break even, they attract charitable donations – a critical aspect since our local government doesn't provide significant financial support annually. These shows also minimize space use by usually loading in and loading out in the same 24 hour period, keeping the spaces widely available for third party use. We also offer education programs, galleries/art sales, and a pottery studio, which together create a diverse set of revenue streams.

Of course, our business model isn't flawless. Many systemic issues within the nonprofit cultural sector also apply to us. Scaling is challenging, and each year requires strenuous efforts to secure the necessary charitable funding to keep the organization on budget and meet cultural demands. However, we're not facing closure, and our impact figures are strong. This is why I feel fortunate. If we can boost our endowment in the next decade, the organization can maintain its existence, something many LORT theatres currently struggle with.

I'm increasingly curious whether our approach in Lynchburg, VA could be adapted to larger markets. Back when I was a young theatre artist in Philadelphia in the early 2000s, I started a theatre company. I was working with talented peers and had ample energy. What I lacked was infrastructure. During my participation in the Lincoln Center Director's Lab in 2002, I found that my fellow early-career colleagues also needed performance space. Conversations often revolved around the costs of performance space in New York City which were often cost prohibitive and the spaces that were available were lacking in modern technology and ammenities. Could a future see established venues that have primarily produced their own productions for decades transition to hosting the work of others? Such a shift could leverage their infrastructure while accommodating a business model in decline, while also paving the way for younger, more eager artists who might serve as a bridge to a new audience.

This doesn't imply that these storied theatre companies should cease producing, but perhaps they could produce less and allocate a significant portion of their calendars, resources, and buildings to smaller theatre organizations ready for the next chapter of the American theatre. This would likely change the role of the artistic director but that might be okay. This was a job that was created to build a season and an artistic identity for a theatre company through its subscription series. Maybe this is a job now dedicated to fostering and supporting new talent. I believe that programming can still be curated through the producing partners that the “cultural infrastructure” company chooses to work with. These theatre complexes can still have an artistic identity but now reinforced through the third parties they select, cultivate, and support.

Maybe just maybe, we have some ideas here in small town America. The Academy Center of the Arts, due to our community size, is a hub for culture. We are here primarily to lift up those in our community producing and creating artistic work. What if these larger theatre companies in bigger markets let go of their traditional role as producer and instead become hubs for a network of smaller, hungrier, and more diverse organizations in their ecosystems? This could refresh the work, cultivate new audiences, and ultimately create a more sustainable business model.

Give yourself grace. This is really hard.

I have recently incorporated a new routine into my daily life: reading a short passage of advice from the book 'The Daily Stoic' each morning. This book draws wisdom from the ancient practice of stoicism, which was prevalent in Greece and Rome during the 4th and 3rd centuries BC. This new habit has proven to be quite helpful, especially considering the nature of my work in the non-profit arts sector. The fundamental philosophy behind stoicism is that while we have no control over what happens to us, we can always control how we respond. It involves acknowledging that we exist in a world we cannot change, but we can adapt ourselves and our approach to navigate the circumstances beyond our control.

The non-profit approach to the arts in America poses inherent challenges in terms of sustainability and comfort for those leading these institutions within our communities. These organizations, which deliver artistic experiences to the community, rely on support from the private and/or the public sector, contradicting the dominant cultural and economic principles of the American free market. Consequently, bridging the gaps and compensating for the shortcomings of the arts in the free market remains an ongoing struggle. At the Academy Center of the Arts, approximately 60% of our revenue is earned through customer payments for services such as performances, classes, and facility usage. However, the true value and cost of these offerings often exceed what customers are willing or able to pay. Additionally, 40% of our revenue comes from charitable sources, primarily supporting efforts that prioritize community accessibility rather than commercial success. While there may be alignment between philanthropic goals and commercial needs at times, it's not usually the case, resulting in a portion of the budget that often remains unbalanced despite charitable contributions. As leaders, we find ourselves caught between the forces of the consumer-driven American free market and the philanthropic goals of equity, access, and affordability that drive non-profit fundraising. This tug of war between business models presents various difficulties that are beyond our control.

Knowing this, we continually juggle and adapt to maintain a balanced budget and keep our heads above water. In Small Town Big Arts’ Episode 10 of Season 1, Cyrus Pace at the Jefferson Center in Roanoke, VA (pop 98,865) discusses how many of us feel immense pressure to come up with a brilliant idea and business model that will alleviate the constant juggling and contorting. However, the reality is that these issues surpass any individual or organization. I believe that acknowledging this reality and drawing inspiration from the stoics can lead to better mental health and grant us the grace to persevere against the daily challenges we face.

I am not suggesting giving up; instead, it is important to make decisions with the knowledge that no matter how brilliant we may be, without a massive endowment or a level of benefactors that far exceeds the national average for our population size, this job is one of struggle. Lately, I have been imagining my job as holding up a massive rock. It isn't about changing this unchangeable rock; it is about holding it up as long as I can and doing the best I can to pass it off to someone else before it hits the ground, even if I am passing it off momentarily. Even better, I try to get it as high over my head as possible before my time is up. With all that said, it will remain a heavy rock, and that can't be changed. Gravity will be pulling it down, and at some point, someone else, with fresh arms, will need to take over. If not, it will crush me and ultimately destroy the organization's ability to deliver the arts to our community. I take pride in having the strength to hold it up for as long as I can but I also know that I will have to pass it off and that’s okay.

Another good metaphor for arts leadership is the myth of Sisyphus. Cyrus recently shared a breakthrough he had in his mindset. He essentially realized that he can't change the circumstances of art delivery in America. He is pushing a rock up a hill each year, and as he moves through each cycle, it will inevitably want to roll back down. When things roll or fall down, he must accept that he has to push them back up, and this will not change. There is no end to the cycle, and there is no shame in the rock rolling back down. The circumstances of arts delivery in America are unchangeable for him as an individual. It is like gravity. At the same time, pushing the rock back up is important. It can't sit idle at the bottom of the hill. If it does, those in Roanoke who benefit from the arts will lose something so very important to their quality of life. We must accept that the rock rolls down, and we must accept that it has to be pushed back up. There is no shame in this.

So, be kind to yourself. I have shared examples on the site and through the podcast of small-town success stories. However, don't be misled. Each of these individuals is struggling in their own way. They are just holding the rock a bit higher or have managed to push the rock higher up the hill. Gravity is still pushing down on them, and their success and heroism are acts of endurance, but they have not solved the larger problems. So, as you continue the work, focus on one moment at a time and solve today's problems for your community and organization. Just work on lifting the rock a bit higher and try to push the boulder a bit further up the hill with each day. And don't feel like a failure when gravity inevitably shows up, because it will and it does for everyone.

Drag Queens and Small Towns (Orange County, VA pop. 37,188)

It is often surprising for many to learn that Lynchburg, VA (the home of Liberty University) had a progressive Democratic majority on our city council for about a decade. Like all things, it eventually came to an end. This era was partially responsible for the public investment in the restoration of the historic theatre at the Academy Center of the Arts and the downtown renaissance in development and public investment. In November of 2022, a group of Republicans swept the available at-large bids on the back of a national election. Our City Council flipped, resulting in a 5 to 2 conservative majority.

Now, politics is complex, and Republican and Democratic affiliations are motivated by various factors. I don't believe all our Republican Council Members are the same, nor do they prioritize the same issues. In small communities, it's important to consider each local politician on a case-by-case basis. It's unhelpful to simply put local officials into narrow political boxes. We produce the arts to build bridges and bring people together, so it's crucial not to alienate anyone in our community without cause.

However, the change in Lynchburg has been loud and scary because one of the new Republicans is associated with a radical element of the conservative right. This individual is greatly aggrieved and is employing a national playbook that incites online communities and sparks newspaper headlines. Smaller communities across America are deeply affected by this, ripping them apart. If you follow national news, you'll find this playbook familiar. It attacks members of the trans community, ambiguously defines CRT (critical race theory), and uses cultural activities as flashpoints for its cause. Often, it targets local drag shows, libraries, public programs centered around race, and high school theatre as part of its cultural blitzkrieg.

This recently happened in our community of Lynchburg, during a high school production of "The Prom." The irony of the attack on this production was intense. If you're unfamiliar with the musical, I encourage you to do a quick Google search and read its plotline. In response, our radical right wing council member wrote a letter asking for the superintendent of the local schools to resign over the production. Personally, I wrote a letter of response to the editor of our local newspaper.

Here is a short excerpt:

“The arts have long been a means of exploring difficult topics. While some may find the content of “The Prom” to be offensive, it is important to remember that art is meant to be thought-provoking and spark conversation. It is through these conversations that we can learn and grow as individuals and as a community.”

Around the same time, just up the road from us in Orange, Virginia, a battle was occurring between its town council and the Arts Center in Orange. Read about the issue here. I have firsthand knowledge of this conflict because I serve on the Virginians for the Arts board with their President, Ed Harvey. I thought this would be a perfect podcast conversation, so I reached out to Ed and the Arts Center in Orange's Executive Director, Anna Pillow.

In an episode of Small Town Big Arts we recorded (Season 1, Episode 11, release date June 1st), there are some clear takeaways I would like to share for our smaller community arts facilitators.

1. Firstly, it is important not to label these political attacks as solely "Republican." Those responsible for such attacks represent a loud but small fringe element. They are not as big or as unified as you might think.

2. Remember that the individuals attacking you or those in your community likely do not attend your events, participate in your activities, or contribute to your cause. While it can be frightening to have people calling for your banning or cancellation, the reality is that they probably do not hold much sway over those in your community who support you. In fact, their behavior often stems from being disconnected from any real community networks.

3. Furthermore, when you are attacked, it often galvanizes people around you. Most of the time, what is being said or what you are being accused of is false, and it becomes apparent that it is masked homophobia or racism. For instance, in Orange, the radical element kept mentioning the grooming of children, implying child molestation. However, the nature of the course being taught by a local drag queen was not sexual in nature and was not intended for children. The supporters of the Arts Center in Orange were well aware of this. Trust that love and truth will prevail in the end.

4. The Arts Center in Orange did experience a loss of some public funding during this ordeal. Losing funding is disheartening, but it is advisable not to rely on public funding in a community where such actions are taking place. The loss of funding will not destroy you. As we discussed in the podcast, the most hurtful part was the symbolism. You want to believe that your local government supports the power of the arts, but even if they don't, your community likely still does. You can make up for this loss in funds in the private sector, and in fact, the attacks may even rally your community around you, as they did for the Arts Center in Orange.

5. Be brave and continue delivering the arts to open minds. Anna Pillow, from the Arts Center in Orange, spoke about culture and our often limited ability to see our own because it is the water we swim in. It is essential for personal and community growth to not only discover other cultures but also awaken to our own. This is critical at a moment when America is trying to figure out its values and where to go from here. I may be naive, but I truly believe we will get through this moment with our eyes more open and our horizons expanded, largely thanks to the arts.

6. Stay positive and engaged in your community. The other day, I overheard someone expressing a desire to leave Lynchburg because of the changes in our city council. This seemed premature to me, given how recent the shift in public rhetoric from our local council is. I'm not suggesting that someone should stay in an abusive community in the long term, but I also think we often overlook the positive aspects surrounding us. Moreover, at this early stage of a political shift, granting too much power and credit to a group of people who are not as influential as they want you to believe is too reactive. You do know they want you to leave, correct? It is your community too. The individual threatening to leave was surrounded by a group of people in Lynchburg who support them, their identity, and their political views. Lynchburg is an evolving community finding its way. If you leave at the first sign of internet trolls getting louder, you've surrendered before the real battle even begins. There may come a time to leave your community, and I'm not denying that, but stick it out long enough to learn the true character of where you live in the face of providing meaningful and bridge-building activities in the arts.

Your building may be destroying your organization. (Roanoke, VA pop. 98,865)

In Episode 10 of the podcast we take dive into the difficulties of keeping up with the depreciation of an arts facility in a smaller market. As many of us know maintaining a balanced budget is difficult enough when just focused on delivering the mission in a small market with limited funding resources. Now add the need to keep up with a building’s depreciation. How in the world can this be done?

To begin, I want to tell the story of the Lynchburg Fine Arts Center. My organization, the Academy Center of the Arts, is the product of a merger between the Lynchburg Fine Arts Center and the Academy of Music. The Lynchburg Fine Arts Center opened in 1962 after a private fundraising campaign raised the necessary funds to build a facility that included a 500 seat theatre, art galleries, a pottery studio, dance studios, and art studio space. After the completion of the center, the Honorable Richard F. Poff spoke to the US Congress about the success of facility. In the Congressman’s remarks (on the Congressional record) he boasted how the building was constructed with no government funds. The Lynchburg Fine Arts Center as an organization operated out of the this building for four decades but by the turn of the 21st century the depreciation of the building caught up to the organization. Without a large endowment or local government support, the weight of both delivering the mission of the organization and maintaining the building was too much to carry. In 2003, the board of the LFAC merged with the Academy of Music that was in the midst of trying to renovate a historic theatre on Main Street (now our flagship theatre). The site of the original Lynchburg Fine Arts Center is now a parking lot near one of our hospitals.

To tackle this subject of beating back depreciation, I spoke with Cyrus Pace at the Jefferson Center in Roanoke, VA (pop.98,865). I am particularly excited to share this conversation because during the darkest days of COVID Cyrus and I formed a bond. We began a bi-weekly Zoom call to strategize and to supply each other emotional and psychological support. Even post COVID, we continue these meetings because of their utility to our ongoing work.

The way Cyrus and I see it there are the barriers to paying for the depreciation and there are the solutions. Let’s start with the barriers.

1. The perception that an organization and its leaders can overcome the limited financial return of arts delivery in a small market community. I mean, it just takes “business savvy,” correct? Why is this perception flawed? The simple answer is supply and demand. There is a limited population in a small community. This means that there is a smaller pool of ticket buyers, art buyers, and students. Organizations delivering the arts in small town America must be non-profits and they must subsidize the work they present through individual donors, sponsorships, and grants. This is in turn is a limited pool of charitable funding. A small community only has so many donors, so many corporate entities, and so many grant giving entities. This means operational budgets will always be tight.

2. Small market communities create a fragile revenue landscape for arts organizations. In other words, the other shoe is always about to drop. As Cyrus says in the podcast, donors will always find a reason not to give. Perhaps they are not interested in your programming any longer. Perhaps the leadership of the town’s corporate entities work remotely since COVID and are disconnected from your organization’s value and the impact your organization makes. Perhaps one year you receive a large grant from a national grant giving agency but they won’t give again because they want to turn to other communities in future giving cycles. Cyrus and I also discussed the risk in ticket sales. Ticket buyers are fickle. Sometimes you hit the right note with your community but sometimes you present something they have no interest in. Every offering is a roll of the dice and an expensive roll of the dice.

3. The kick the can mentality. Often organizational leaders know they are sitting on facility ticking bombs but their personal incentives outweigh the organizational needs. A leader can keep a balanced general operating budget while navigating facility needs like a minefield for a number of years. They can develop strong programs, make positive impact on a community and jump to another job or another market before the depreciation catches up to the bottom line. With each change in leadership the time on the clock gets shorter and shorter and eventually the organization crumbles under the financial needs of the building/s.

Next, let’s talk solutions.

1. Local government subsidy. The Jefferson Center is owned by the City of Roanoke but before Cyrus’ time an arrangement was made that included no public funds for maintenance and upkeep. This falls on the Jefferson Center as an organization. Likely it was envisioned that some wealthy benefactors would help them manage the inevitable depreciation but because the building is owned by the city it has not been an attractive fundraising cause. Cyrus teaches graduate courses in arts management at Virginia Tech. One of his student’s Liz Gray did research on the business models of historic theatres owned by counties or cities. All successful theatres are run by non-profit entities but receive significant public funding to maintain the buildings the occupy and program. In some cases they also receive funding to support programing as well which helps navigate the risk in presenting expensive national touring artists.

2. Large endowment. My organization, the Academy Center of the Arts, owns its building and the City of Lynchburg lacks the political will to subsidize our organization. It is critical in the coming years that we have an endowment that is about 10 to 15 million dollars to support our ongoing facility needs while also allowing the organization to maintain strong mission delivery in our community. This is done through a 3 to 5% draw on the principle of the endowment annually. With out this, our organization will not survive under the financial weight of maintaining the buildings.

3. A public/private collaboration. This would be a combination of the above with local government supplying some of the support while the remainder is supported through an annual draw on a smaller but healthy endowment.

So… if you are in the midst of launching a building campaign in a small market take the long term health of the organization and building seriously. If you are in a building, know that additional revenue resources either through your local government or through an endowment are critical to your long term health. Ethically, leaders of such organizations need to shine a light on the impacts of on going depreciation and maintenance of their facilities to the long term health of arts delivery in their communities.

Five qualities that lead to small town arts success

I was talking with a good friend of mine who ran a youth arts organization in Richmond, Virginia for a number of years and now does consulting work. He has enjoyed the podcast but he brought to my attention that it might be a good idea to release a podcast that is a recap of previous episodes and provides some clear instructions on what you can do right now, if you deliver the arts in a smaller community. I feel that I have collected enough intel over the last 9 months that now is a good time to share what I have learned. 

I have showcased a number of model organizations in our first few episodes. Common with all successful small community organizations are some specific qualities. I have identified 5 of them. In today’s episode, I will name them and explain them. 

Quality number 1: Successful small community arts organizations reflect with specificity the community they serve. Their identity is tightly entwined with the community itself (history, culture, landscape, and/or geographical). 

In Episode 1 we spoke with Appalshop in the Appalachian Mountains of Kentucky. Their name says it all. Their work ties back directly to what it means to live, work, and be from Appalachia. I imagine if they were the Letcher County Arts Center and their mission was general arts delivery, they would be significantly smaller and wouldn’t be able to galvanize their community to the degree that they do and they certainly wouldn’t access the level of national funding and attention they receive. 

In Episode 2 we spoke with the Wormfarm Institute in the farmlands of Wisconsin. Farm is literally in their name and the focus of their art work connects directly to the land and what that land produces. Their annual festival travels from farm to farm, utilizing the landscape as a backdrop. The festival also has a theme of fermentation and incorporates all that the area ferments. 

In Episode 3 I interviewed Roger Schmidt who leads Sitka Fine Arts Camp in Sitka, Alaska. Their identity is tightly connected to Alaska as they are identified as not just Sitka’s arts camp but Alaska’s. Being geographically isolated from the continental US, they use this as an advantage and not a disadvantage. They have been recognized by the state and nationally for their work to provide arts access to youth to our most northern state. It is baked into their purpose and business model. 

In Episode 4 we introduced you to Riverzedge in Rhode Island. They are located in Woonsocket and they specifically serve youth (which will come up again in our next essential quality). As a part of their mission and business model, they have a shop where they sell items made by the students they serve and employ. In this shop are Woonsocket and Rhode Island specific merchandise. They also have a program dedicated to public art that utilizes and enhances with specificity the city where they live. 

In Episode 8 once again we meet an organization whose name is tied to their location. Border Arts Corridor. This orgnizartion serves a US/Mexican border community, has their entire identity and purpose tied to the culture of that border community and all that that entails. 

Quality 2: The organizations address a real and tangible need or needs in the community. Their mission is not abstract or broad. The need they address is very clear. 

I often see arts organizations, because of both the subjective and abstract nature of the arts, take a broad approach to their identity and mission. This could feel like a good thing to do in a smaller community when you are wanting to cover all bases and be all things to all people. Vagueness will be the death of you. Vagueness doesn’t galvanize people. It doesn’t fundraise and it doesn’t sell admission. 

I have read a lot of mission statements that look something like this:  

“To produce the arts for our town and its surrounding counties because the arts are essential to a thriving community.”

Sounds nice enough. I like a thriving community. I like the arts. But what community? What arts? Why? 

Now let’s listen to Riverzedge’s mission statement:

“The mission of Riverzedge Arts is to use innovative applied and work-based learning strategies to teach art, design, and critical thinking to the youth of northern RI, providing our participants as well as our community with a path to economic and cultural sustainability.”

Hear the difference? The need they address is super clear. Their identity is clear. 

How about Appalshop which is much more encompassing. Now, there mission starts broad but then it narrows down into specific focus areas: 

It reads: 

“Our mission is to enlist the power of education, media, theater, music, and other arts to:

• document, disseminate, and revitalize the lasting traditions and contemporary creativity of Appalachia;

• tell stories the commercial cultural industries don’t tell, challenging stereotypes with Appalachian voices and visions;

• support communities’ efforts to achieve justice and equity and solve their own problems in their own ways;

• celebrate cultural diversity as a positive social value;

and participate in regional, national, and global dialogue toward these ends.”

When I read that… I understand who Appalshop is and the needs they address. With this approach, they become ESSENTIAL to their community. Not just a nice addition to their small community’s amenities but a critical part of their cultural infrastructure. 

Let’s look at Wormfarm Institutes mission: 

“Wormfarm cultivates connections between our rural and urban neighbors through art, food, and the land. We do this by investing in our cultureshed: This “cultureshed” includes 1. A region irrigated by streams of creators and producers, fed by deep pools of human and natural history and nourished by what is cultivated locally. 2. The efforts of artists, farmers, chefs, scholars, writers, performers and community organizers who contribute to a vital diverse local culture.”

So clear. 

Finally, Border Arts Corridor which is simple but still clear: 

“Border Arts Corridor (BAC) is dedicated to cultivating arts and cultural programming that explores the complexities of the borderlands so that social borders will fall and bridges materialize.”

You know who they are and what they do in one sentence. 

Quality number 3: The organizations have a cause or call to action that galvanizes the community directly and beyond just financial support. 

I want to use Sitka Fine Arts camp as the example here although all of the organizations have rallying cries and calls to action. Often this occurs through festivals or large scale events. For Sitka it is their campus. Their home is an old college campus. The college itself closed and left the community with a sprawl of empty buildings. Over time, these buildings began to fall into disrepair and had become a cultural, economic, and visual blemish for the community. As their Executive Director Roger Schmidt articulated, it became a symbol of community decline. Sitka Fine Arts Camp operated in a different facility at the time of the college’s closure. They were approached to take over the grounds and buildings and convert them into a sprawling art campus. At the time, this move had its skeptics. What was so smart though was that through Roger’s unique leadership and gumption, building by building they began to turn the campus into an active and rejuvenated set of facilities. Many of its skeptics turned into supporters. Now the change did take some fundraising but because of the size of Sitka and the tight nit nature of their small community, revitalization also involved direct involvement of the community itself to repair, replace, and update the buildings much like a Habitat for Humanity project. This direct involvement, beyond financial assistance, created a deep relationship between the community and the organization. You can mow the grounds, repair flooring, paint a classroom… your work is a part of the change in a direct way. 

I love to share the story of their donor wall. It is very Alaskan and rugged. It is made up of wood from the surrounding forest and each wooden plaque is the same size. You get on the wall with any size donation. Everyone is valued equally and it sets a culture around participation and ownership. It also creates a broader social pressure to be engaged. It becomes embarrassing NOT to be on the wall. 

Quality number 4: The arts are valued financially and this is manifested in budgeting, labor, and delivery. 

So, all of the organizations I spoke with pay their artists and/or instructors. This was across the board. Value has to be placed on the labor and art is in fact work. My favorite small community trend is a desire for public art but asking for submissions from artists with no pay. The locale tries to sell the exposure and visibility of the project as the payment. I can tell you, I have watched artists get taken advantage of with projects like this and what happens; the cycle of undervaluing the art continues. Exposure does not lead to the artist's next paid gig. It just teaches the community they can get artistic labor for free. 

Communities can really undervalue the real skill and time it takes to create public art. Here in Lynchburg we have a very bizarre fountain in our river. It is just a slab of concrete with a pipe poking out of it. It shoots a rush of water hundred of feet into the air and resembles an industrial accident as the ED of our local children’s museum loves to point out. Visitors and many locals often wonder what it is and if it is on purpose. Sadly it is. So, how did we get a fountain that looks like an industrial accident? My understanding is that the original vision was that an artist would create something for this fountain. I am not sure of the history of the funding, but funding never manifested for an artist so now we simply have the exposed fountain mechanism with nothing to beautify or define it. I imagine this had to do with a lack of understanding that art has a cost and that cost wasn’t understood or planned for. I would argue the fountain now does the opposite of its intent. Instead of wowing and inspiring visitors it creates snickers and jokes. 

For this quality of valuing artistic labor, I want to use Riverzedge Arts as my prime example. The reason is that their organization could actually exist without paid artistic labor because they work with youth, most of whom are under the age of 18 and the nature of the work is educational. It would be easy to simply build a tuition model, generating a revenue line for the organization. If they did this though they wouldn’t be who they are and they wouldn’t have the relationship to the community they do. The organization’s focus is to work with young people from low-income families and underserved communities, providing them with opportunities to develop their creative and technical skills and in so doing the organization provides job training and career development services for young people who are interested in pursuing careers in the arts. So, they pay the students for their commissioned work that manifests in their public art, multi-media commissions such as videos and graphic design, and work that they create that is sold in the organization’s online shop that includes merchandise such as t-shirts and coffee mugs. On one level this is necessary for the students to participate. Many of these students' economic circumstances means they would need to be working part time jobs to help support their families if they were not participating in Riverzedge’s programs. Most importantly though, they are teaching their community that the arts are valuable and the skills associated with creative fields are a part of the labor force. Because it is valued, funding follows. 

Also, the staff of these successful organizations are paid and often provided benefits. In episode 3, Roger and I talked at length about the importance of providing his team in Sitka health insurance. As he said, you just have to do it. There is certainly the ethics of the matter but it is also a business strategy. Now, I went through a similar transition as Roger in providing health insurance for our staff here at the Academy in my first couple of years with the org and I am now in the process of implementing a retirement plan and 4% match for our team. It can be easy to look at your budget and see that the math may not add up in the present. Your payroll seems to be weighing you down and all you can think about is the dollars you have to raise and the tickets you have sell and the number of students you need to enroll to cover all these costs. Here is the thing though… it is an investment. Good employees will raise more money, will sell more tickets and will engage more students. If your team is good and they feel good this will project out into the community. If they feel undervalued or you simply employ (or in some cases not employ) who you can afford… I promise you your engagement will suffer. The arts are SO hard to deliver and the people who do it and do it well have value. 

Last but not least, Quality number 5: The organizations have a direct and defined relationship with their board of directors. 

Now, the organization I spoke with did not share in the number of board members they had or the make up of their boards. Some boards have non artist community members with skills they bring to help support the organization such as lawyers, fundraisers, civic leaders etc. Some boards were only made up of artists and practitioners and some organizations had large boards and some very small boards. 

What they all shared though was a clear and established relationship to that board that was mutually understood and beneficial to all involved. I can’t express how important this is. It looks different for each org and each community but what is shared is there are established expectations for the board and from the board. It is active and not passive. If you are forming an organization or running one, it is important to establish clear roles, responsibilities, and goals for the board. If they are simply a group that gathers around a table to listen to reporting, you are not maximizing the potential for your organization. This group of people is responsible for the success of the organization and they need pathways to do so. Whether they are building a new roof in Sitka Alaska, drumming up commissioned artists to come to a farm in Wisconsin, or connecting you directly to your corporate community in Rhode Island, you must give them clear pathways to support you and clear means of measuring their success. 

So to review: 

Quality number 1: 

The organizations reflect with specificity the community they serve. Their identity is tightly entwined with the community itself.

Quality number 2: 

The organizations address a real and tangible need or needs in the community. Their mission is not abstract or broad. The need they address is very clear. 

Quality number 3: 

The organizations have a cause or call to action that galvanizes the community directly and beyond just financial support. 

Quality number 4: 

The organization values the arts financially and this is manifested in budgeting, labor, and delivery.

Quality number 5: 

The organization has a direct and defined relationship with their board of directors.

My advice is to enhance any of these things you are currently doing and to begin to address the others if you are not. This can be overwhelming with limited resources and community specific challenges, but if you make incremental changes in any of these areas, over time there will be results for the good. Successful arts delivery doesn’t happen overnight. One quality not mentioned is patience and knowing it is a long game. Don’t be discouraged and remember the efforts are worth the results. I will share that my own organization probably needs to overhaul its own mission and we are in the midst of addressing our board engagement. None of us is perfect. 

Thank you and keep up the good work and remember your community needs you! 

Border Arts Corridor: Douglas, AZ (pop. 16,531)/ Agua Prieta, Mexico (pop. 73,303)

I have spoken with a wide range of smaller community arts organizations since launching Small Town/Big Arts. I have interviewed leaders delivering the arts in the farmlands of Wisconsin, in the mountains of Kentucky and even on the Alaskan coast. In Season 1 Episode 8 we continue to examine the complex beauty of small town arts delivery in America when we speak with the leaders of a unique organization based in Arizona but whose mission operates transnationally.

Border Arts Corridor (BAC) was founded in 2015 as an arts organization located in Douglas, Arizona. BAC recognized a need for an arts organization dedicated to telling the narrative of those who create art within their unique border community.Since their founding, they have prioritized serving their dual communities of Douglas, AZ and Agua Prieta, Sonora in Mexico. They do so by creating art installations, workshops, and programming for individuals on both sides of the border.

What I love about BAC ( https://www.bacaz.org/ ) is that they like many of the success stories we share here has an identity intertwined into that of the community they serve. I don’t live in a border community but I hear a lot about the border as many of us do. The Mexican/American border is highly politicized and like anything that politics gets a hold of, the story is more complex and the people involved are like you and I in more ways than they are different. They have people to serve through the arts, artists to elevate, bureaucratic systems to navigate, and a message to share.

We all have local officials to navigate in our work but BAC can add custom and border officials to their list. By serving people and artists on either side of the border their work literally transcends a border. I pose the question, what is a border? To begin it is man made and it is much more fluid than any of us outside of a border community can really understand. BAC’s Artistic Director Martina Rendon mentioned that she may cross the border up to three or four times a day. She lives in Arizona but has family and friends on the Mexican side of the border in Agua Prieta (pop. 73,303). Agua Prieta is her community along with Douglas, AZ. This dual community may seem unique to many of us in the United States but completely normal for many living on the border. This means the work needs to operate with this border fluidity as well and in turn is a reflection of this reality. BAC’s work is executed on BOTH sides of the border.

When asking founder and board President Jenea Sanchez how they navigate work on both sides of an international boarder. “We make it work,” said Jenea. When running a non-profit organization you need and want a board of directors that is reflective of the community you serve. Jenea spoke to the fact that they want to someone on the board who represents the Agua Prieta side of the border. I asked what the legalities of this are (some living in Mexico serving on an American non-profit board). “It’s complicated,” said Jenea. There are dual citizens and American citizens living on the Mexican side of the border that they will target. It does complicate the circumstances and make up of this particular board seat, but they recognize the importance of that representation. The perspective and needs of the Agua Prieta are just important as those living in Douglas, AZ. I think anyone delivering the arts in a smaller community must have their board represent the community they serve, how ever that looks.

BAC’s work creates tangible connectivity across a metal fence. The fence divides the two communities they serve but the two communities are actually quite linked. They are linked culturally and economically. Their artist residency and Bi-national Arts Walk move back and forth across the border.

One of BAC's main projects is the Border Biennial, a large-scale exhibition that brings together artists from both sides of the border to showcase their work. The Border Biennial aims to break down stereotypes and promote understanding by highlighting the diverse perspectives and experiences of those who live and work along the border. The exhibition features a wide range of media, from painting and sculpture to photography and video installations.

Another project that BAC is involved in is the creation of public art installations that engage with local communities. These installations are often created in collaboration with local artists and residents and aim to reflect the unique culture and history of the area. One recent example is the "Migrant's Altar," a public art installation that honors the lives of migrants who have lost their lives trying to cross the border.

BAC also hosts educational programs and workshops to help young people develop their artistic skills and promote cultural exchange. These programs often focus on creating opportunities for youth to connect with their heritage and learn from artists and educators from both sides of the border.

Overall, BAC's projects aim to use the power of art to create meaningful connections between people from different communities and promote understanding and empathy along the border. I strongly encourage you to use them as an example of gumption and ingenuity. Even if you are not in a border community, their work is an example of how to connect deeply to your community and navigate the local politics and bureaucracy of your community.

Making the Impossible Possible: The story of Lynchburg’s (pop. 79,697) 30 million dollar dream.

A colleague of mine recently shared that he asked Chat GPT to write a case statement for a historic theatre in a small city. I did the same and here is part of what I got back:

“Investing in the restoration of the historic theatre in [City Name] is a once-in-a-lifetime opportunity to preserve an important part of the city's history, while also revitalizing the area and providing a host of economic and cultural benefits to the community. With a solid investment plan in place, and a commitment to sustainable and responsible operations, this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.”

Chat GPT is correct, but I can share from personal experience and observations of the wider American arts and community planning sectors that building belief around this statement can be difficult. In Season 1, Episode 6 and 7 of the Small Town Big Arts podcast, I speak with a group of key community leaders in Lynchburg, VA, where at the Academy Center of the Arts, we were able to build belief, raise funds, and complete a 30 million dollar construction project on a historic theatre originally built in 1905 and that closed in 1958. Proudly, we re-opened the theatre in 2018 after it had been closed for over 60 years.

Now, I want to pull out some of what Chat GPT put together in the above statement and dive in a bit. To begin, “Investing in the restoration of the historic theatre in [City Name] is a once-in-a-lifetime opportunity to preserve an important part of the city's history, while also revitalizing the area and providing a host of economic and cultural benefits to the community.” Easy enough, right? Well, if you are in a smaller community you know that building belief around all of this can be very difficult. This was the case for our project in Lynchburg. I joined the Academy Center of the Arts in 2015 and by that point the capital campaign to restore the theatre had been underway for 17 years. So clearly, it was very hard.

So what changed in the final three years of the campaign? In Season 1, Episode 6, a common theme arises from our conversation and this was community credibility. How does an organization gain credibility with its community? Well some of that depends on your community and its constituents but I do believe most communities share some common barriers to credibility. The first is trust. Whether we like it or not many in the arts are on the outside looking in when it comes to local politics, business development, real-estate development and financial investment. Of course, this is a broad statement and I know there are exceptions but the Academy was not. Sackett Wood, a former Academy Board President said that often he heard back from potential donors that the project was a “boondoggle.” (Noun meaning: work or activity that is wasteful or pointless but gives the appearance of having value.) So how did the Academy’s theatre go from being a “boondoggle” in the eyes of the community to having credibility? Well, it was incremental but it was by building a board that included individuals with two important qualities. The first was strong community reputations outside the field of the arts and second was expertise that would aid the project directly.

One by one, servant leaders in the community were recruited to take on critical parts of the fundraising, construction management, historic tax credit acquisition, and financial planning. This didn’t happen over night but as more joined the project, momentum was built and more and more joined. As more community leaders with strong reputations outside of the arts joined the project, the belief from the corporate, government, and private donor sectors increased. The project went from being a “boondoggle” to being a viable project. In 2018 fundraising completed and the theatre was restored with zero debt… and the servant leaders had fun and grew a deep connection to the Academy as an organization.

Going back to Chat GPT: “With a solid investment plan in place, and a commitment to sustainable and responsible operations, this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.” As the team of servant leaders grew, so did cultural changes to the institution. When I arrived at the Academy in 2015, the financials were in shambles and there was a culture of austerity built on years of faulty strategic plans. It was the project itself, both the fundraising and the construction that changed the organization, helping it meet the moment of the building we were about to occupy. As an organization we were pushed to the meet the moment and rise to the level of those that were supporting the project. Our finance committee meetings became transparent and pro-active, our strategic planning had be savvy and researched to answer the questions of tax credit investors, local government, and local corporations investing in the project, and our programming had to live up to what we said it would be, a wide ranging inclusive catalogue that provided real economic impact to our developing downtown.

In our fifth year of operating the theatre (with over 2 years of pandemic interruptions) we are in a place where our trust in the community has grown and we have in place effective board governance. We also have a skilled and dedicated staff and comprehensive strategic planning process. We are not out of the woods yet, but know the path to long term health. Referencing Chat GPT, “this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.” To meet that potential we will need a considerably endowment. Today our endowment sits at about 2.5 million. I firmly believe that if our institution is going to remain resilient for decades to come, we will need to see that endowment grow by about 10 million dollars. Not easy, but we now have the community trust and the vision to see a path there. This is all thanks to our small community “boondoggle” and making the impossible, possible.

I also imagine that the subject of endowment growth will be featured on Small Town Big Arts sometime in the near future…

“Artist Thrive” is here to help.

Artists Thrive is an initiative that began in 2016 when a group of arts professionals and artists produced the first draft of a field-wide assessment rubric. Through multiple rounds of feedback, Artists Thrive was publicly launched in 2017. Artists Thrive is driven by a leadership team of artists and diverse collaborators from different sectors and communities across the country and is supported by the Emily Hall Tremaine Foundation.

The Emily Hall Tremaine Foundation has a focus on supporting artist careers. Their website states, “Since 2002, EHTF directly expanded career opportunities for artists by increasing access to business development expertise, entrepreneurial skills, and related professional practice and career supports.” Through Artist Thrive, the foundation aims to identify the things that help artists pursue their vision and to enable communities to benefit from the arts in all aspects of life. Resources and tools within Artists Thrive help artists, arts organizations, and other groups that work with artists collaborate and craft meaningful stories about why art-making matters. 

Why is this important? Well, I wish that people and communities all inherently understood the importance of arts organizations and artists in a community but sadly we often have to make the “case” for their importance. Let me frank though, the organizations and stories that we have focused on through our blog and podcast are successful because they are valuable to their communities. This means the case that they make to funders and partners is understood, felt, and very very true. What Artists Thrive provides are invaluable tools to help guide you down a path of creating community value while also providing you metrics and narratives to articulate that value back to new and existing constituents.

Artist Thrive draws heavy inspiration from “The Social Profit Handbook” by David Grant. He states, “If you measure what you value, people will value what you measure.” A common theme I am finding with successful small town organizations is that they have clearly identified true value they can provide their community and that value is understood by the community and funders. Artist Thrive has a set of tools to send you on this path.

Artist Thrive also holds an annual summit which I strongly encourage you to engage with. Artists, arts leaders, educators and funders from across the country come together annually, in-person and online, to collaborate, gain inspiration, engage and align.

They have re-opened registration for those interested in joining thier community.  New registrants have access to all the on-demand content, session recordings, art breaks, and all the new opportunities that will continue to roll out through the virtual portal. 

To learn more, visit: https://www.artiststhrive.org/

Riverzedge Arts: Woonsocket, RI (pop. 43,000)

Woonsocket, Rhode Island is home to Riverzedge Arts. The community resides in Providence County, Rhode Island with a population of about 43,000 according to the 2020 census. It is Rhode Island's northernmost city and lies directly south of the Massachusetts state line and constitutes as a part of the Providence metropolitan area with a population of 1.5 million, which makes the locale unique from some of the other organizations we have spoken with. The client base, many of whom are economically challenged youth, don’t have access to the larger metropolitan areas because of transportation and income barriers and must have significant services in their immediate locale. Riverzedge’s adult workforce is also drawn from a larger geographic area. There are positives and negatives with this but it serves as another interesting example of how a small community can serve the realities of their community while also drawing on skilled labor from beyond their borders.

Riverzedge was formed in 2002 by artists, youth development professionals and community leaders concerned about patterns of violence among disaffected youth in the wake of the Columbine shootings. Riverzedge is built on the philosophy that art is a powerful force for social change, and that creative entrepreneurship through the arts is a productive and life-changing opportunity for teens. Riverzedge has garnered national attention and awards for the academic success and artistic achievements of their youth, and for their consistent performance and innovative approaches to youth development. In November 2013, The Wallace Foundation cited Riverzedge as one of 8 exemplary organizations nationwide in their research on out-of-school time arts programs for low-income urban teens. Riverzedge also was awarded a President’s Council on the Arts and the Humanities National Arts and Humanities Youth Program Award in 2010.

Riverzedge is creating the next generation of entrepreneurs in Rhode Island through workforce development programs. Now, this may not be what you would initially associate with an arts organization but perhaps you should. Through training (students are paid for their work) in graphic design, multi-media, screening printing and public art design and execution, youth of Woonsocket, RI are instilled with workforce skills while also finding community and a positive outlet for expression and exploration. The model involves an Artistic Director and trained instructors who mentors a team of youth who execute multiple creative projects for the private and public sectors. To top it off, these projects provide earned revenue for the organization. Riverzedge works with clients to design and create merchandise and apparel, execute public art projects, design logos and marketing materials, and create multi-media services through photography and video work.

To begin, this youth workforce is not only improving the lives of the youth but also improve the lives of the wider community. The services they execute are at a significantly reduced price point for their clients, lowering cost barriers for many running small businesses, non-profit organizations or government departments in Woonsocket. Second, the organization’s focus on public art as a part of their services is improving the aesthetics of Downtown Woonsocket, which is a community that struggles with blight and poverty. Finally, they are building civic and community pride in Woonsocket by making merchandise that celebrates the city and the state of Rhode Island.

As a business model their set up is brilliant. The value their youth workforce development provides is worthy of private and public grant funds. The clear effectiveness of their programs also provides them a 65% retention rate with annual individual donors. At the same time, they are able to pay their youth (and staff) for their time because the work they do provides real dollars for the institution through commissions, service fees and merchandise sales. It is an example of how a non-profit business model can truly combine their workforce and mission delivery into a symbiotic relationship.

I really encourage you to visit their website and learn more. They are truly making big art in small town America.

http://riverzedgearts.org/