Welcome and introductions
Jennifer Armstrong, NCAR, Moderator
Karen Brooks Hopkins Former President of Brooklyn Academy of Music, inaugural Senior Fellow of the
Andrew W. Mellon Foundation, NCAR Fellow
Steven Wolff Founding Principal, AMS Planning & Research
Bruno Carvalho (not present) Co-Director of the Princeton – Mellon Institute in Architecture, Urbanism and
Humanities
Setting the Stage
“OK, I’ll catch it in London”
Art is enduring
Legacy organizations and smaller, mid-sized and culturally specific organizations
Opportunities missed
Creativity is our DNA
Our Key Question
How can anchor cultural institutions in low income areas and communities in transition
make maximum social, economic and artistic impact?
Community: Loosely defined for our purposes as a Census Place – i.e. the City of Providence, RI. We understand that the organizational reach is larger and more expansive.
Working Definitions
Anchor Institutions: Enduring organizations that remain in their geographic places, and play a vital role in their localcommunities and economies. Anchors generally include colleges, universities, hospitals, libraries, parks/recreation, community foundations, and arts organizations.
- Marga Incorporated, Anchor Institutions Task Force
Anchor Mission: To align core institutional purpose with community values and place-based, economic, human and intellectual resources to better the welfare of the community in which the anchor resides.
- Adapted from Marga Incorporated & Democracy Collaborative
Working Definitions
1. Program leads the way2. Speaking in one voice3. Partnerships – beyond the basics (DanceAfrica, Radio Love, Muslim Voices)4. Removing the obstacles – making room for everybody 5. Visual identity (powerful visual that exemplifies mission, brand and promotes destination status)6. Vision for a 21st century cultural district7. Deliver the goods – public, private, human, financial resources
Context: The BAM Experience –The Institutional Point of ViewAspiring to Live the Anchor Role
NJPACFounded 1997
Newark, New Jersey
AS220Founded 1985
Providence, Rhode Island
MASS MoCAFounded 1986
North Adams, Massachusetts
Large multi-disciplinary performing arts center
Metropolitan scale Grassroots organization, performance/exhibition
Urban scale Large contemporary museum with extensive performing arts program
Rural scale
Presents over 400 different events annually
Originated as an economic driver
Supported by tremendous and growing community of not for profit and for profit partners
Rutgers – Newark
Activist History
Proximity to New York City
Cultural density/cluster
Has not been blanded out by chain store proliferation
No bureaucracy
Self-made
Hyperlocal
Camaraderie among local cultural institutions
They do everything!
The RISD effect, lots of artists
Cultural density
Brown, RISD, Johnson and Wales
Converted mill/factory
New 130,000 sq. ft. expansion
Long-term Founder/Director
Proximity to Williamstown
Regional cultural cluster
Williams College and Massachusetts College of Liberal Arts
Three Case Studies: Three Sites
“Let’s talk about purpose, not about mission … Purpose is your reason for existence, Mission is simply what you are doing”
– Chronicle of Philanthropy – Interview with Ann Wallested
“Culture is the golden thread that runs across all aspects of urban planning and policy.”
– World Cities Culture Forum, 2015 Report
“Medical Services and cultural attractions will provide Brooklyn with the most growth this year and in years to come.”
– Crains New York
*Let’s not lose sight of the particular role of arts and culture
“Arts for LA launched a simple but transformativeproject. Arts venues as polling places.”
– Barry’s Blog – Interview with Sophia Klatzer
Brighton has created over 20 festivals as an economic development strategy.
When it works: Economic ActivityFestivals in Brighton, England
7 Museums, 1 Destination
“Museum Mile” encourages visitors to explore 5th Avenue from 82nd to 105th
Streets.
When it works: BrandingMuseum Mile
With encouragement from the City Council, The Jewellery Quarter’s over 200 jewelry businesses (sales, manufacturing, galleries, etc.) created a destination in this 250-year old neighborhood.
When it works: BrandingThe Jewellery Quarter, Birmingham, England
A space providing services to immigrants in Corona, Queens partners with the neighborhood’s anchor arts organization.
When it works: Inspired PartnershipsImmigrant Movement International & Queens Museum
A grassroots haven for writers under threat partners with the city’s anchor cultural organization.
When it works: Inspired PartnershipsCity of Asylum & Pittsburgh Cultural Trust
Cleveland Playhouse Square’s large outdoor chandelier connects historic theaters, telling visitors “You are now in a cultural district!”
When it works: Extending the cultural vibeCleveland Playhouse Square
“The opening of The Max M. Fischer Music Center in 2003 [an extension of the historic Orchestra Hall] sparked the development of Detroit's Midtown neighborhood. New commercial, residential, educational and cultural facilities are opening at a pace unrivaled in modern Detroit history.”
-Detroit Symphony Orchestra, History
When it works: Clusters – attracting a crowdDetroit Symphony | Midtown
Water crisis:
Documentaries, spoken-word performances, urban revitalization actions, and gallery shows raise political awareness, assuage grief, anticipate long-term educational needs, and encourage the resumption of everyday life.
When it works: Art gets involvedFlint, Michigan’s Arts and Cultural Community
Dance Place, 2012
Dance Place, Present
Dance Place Art Park, Present
When it works: Revitalizing neighborhoodsDance Place | Brookland, Washington, D.C.
“With Dance Place as the anchor, the neighborhood began to change.”- Sarah Kaufman, Washington Post
The arts generate $166.3 billion in direct expenditure and tax revenue for the United States.Yet, combined local/state/federal government only appropriate
$5 billion to arts organizations… -Americans for the Arts
In United States cities, funding for culture is dominated by private charitable giving. -World Cities Culture Forum
Arts, culture and the humanities received only 5% of all charitable giving in the United States in 2016…
-Giving USA Foundation
Public arts funding is 15% lower today than it was 20 years ago.-Inside Philanthropy
The ongoing struggle…Tagged as elitist, considered a frill, inconsistent investment = lack of respect for the field
• Looking beyond economic impact toward community impact
• Recognize broad pre-existing realities – complex issues around Equity, Diversity and Inclusion
• A changing definition of success; building on excellence
• Our study is just the beginning …
Setting the context
The Way Forward
The field is evolving from Center to District to connected partners / networks.• Economic Impact to Community Impact
• Staying power – Enduring
• Demonstrate Value (the data)
• Invest in powerful and meaningful partnerships
• Relentlessly engage stakeholders / welcome everyone
• Lead with bold, visionary program
• Join forces with partners to deliver a unified message
26 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Three very different anchors…
Citizen-centric Artist-centricEngagement-centric
27 © 2017 AMS Planning & Research
Institution and Organizational Data
Community Partnership Info
Patron, Donor, and Ticket-buyer Data
Market Area: Characteristics,
geographical Reachof anchor Impact
Personnel Survey: Demographics,
Perceptions, and Entanglement
Partnerships: Characteristics,
Support provided, and Network
28 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Located in a culturally rich areacharacterized by higher
demand for arts and cultural programming,
and a more robust supply of personnel,
organizations, and support…
…with similar contexts and contrasts
Source data provided by NCAR Lower
Index“worse”
… but an area with lower levels of employment, income, andeducational attainment.
Median of trade area
Higher Index“better”
NCAR ArtsRank Index
& SocioEconomic Index
“The past is never dead. It’s not even past”
“Defining the DNA of communities.”
Our three communities all have similar histories and contexts
• “Like other cities, they have often been stigmatized, shortchanged, ‘othered’ and scapegoated”
• All three cities date back to the colonial era; hard hit by deindustrialization• Economic indicators lag in comparison to their surroundings and the nation• History of racial segregation• Presence of foreign-born residents• Significant numbers of households where English is not the primary language• Material disparities in home ownership• Concerns about ‘gentrification’
Getting beyond economic impact measuring community impact
30 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Poverty levels (est.)
29.710.8
17.518.5
1329.1
14.215.5
0 10 20 30 40
NewarkNew Jersey
New York CityNorth Adams
Berkshire CountyProvidence
Rhode IslandUSA
Percentage of the population with income below the poverty level in 2015
Source: U.S. Census Bureau; American Community Survey, 2015
31 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Median Household Income
72,093
33,139
59,285
37,501
56,852
38,49049,95653,889
010,00020,00030,00040,00050,00060,00070,00080,000
In dollars (est.)
Source: U.S. Census Bureau; American Community Survey, 2015
32 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Primarily English-speaking households (est.)
0 20 40 60 80 100
Newark
Providence
North Adams
USA
53.5
51.9
94.5
79
Percentage
Source: U.S. Census Bureau; American Community Survey, 2015
33 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Home ownership
010203040506070
21.732
64.552.1
68.662.1
34.9
60.1 63.9
Per
cen
t H
ome
Ow
ner
s
Source: U.S. Census Bureau; American Community Survey, 2015
34 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Audiences are place-based
A majority of ticket-buyers and audiences for all three organizations live within 50 miles of their respective anchor.
Top 20%
20-49%
50-79%Based on audience records provided by each anchor
Other anchors exist in the area
Each operates in close proximity to (and often in partnership with) at least one major institution of higher education.
Rutgers – NewarkNewark, NJ
Brown UniversityProvidence, RI
Williams CollegeWilliamstown, MA
Also, RISD Also, MCLAAlso, NJIT
36 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Both anchors and their personnel are a part of existing networks
Cultural Anchor Anchor
Personnel
Anchor-Driven Partner Network
Engaged PersonnelPartner Opportunities
Community Based
Organizations
Nearly 150 example partnerships across
all three anchors
40+ partner opportunities across all three
anchors
37 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Space is the most significant asset provided to anchor partners
Based on partnership descriptions provided by each anchor
58% Space58% Activity / Content33% Funding28% Personnel25% Expertise18% Marketing0% Employment
SUPPORT PROVIDED
38 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Personnel connections to the community are mission-aligned…
NJPACDevelopment, Engagementand Youth
AS220Community of Artists
MASS MoCAArts Involvement, Community
The relationships and networking opportunities which result from personnel affiliated with each anchor is a common theme at all three anchors
Based on personnel perceptions (board, staff, volunteers)
39 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
…and each anchor makes a unique impression
AS220
MASS MoCANJPAC
Based on personnel perceptions (board, staff, volunteers)
40 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
…BUT, each impacts the local area in different ways, with varied effectiveness
1. City Identity 2. Diverse Programming 3. Youth Education4. Local Arts/Artists Support5. Volunteer Opportunities6. Community Partnerships7. Regional Tourism8. Economic Development9. Employment10. Civic Leadership11. Adult Education
Board, staff and volunteers were asked to evaluate the level of impact the anchor makes in the 11 areas below:
Some or a Great Impact
Not Much or Little Impact
Based on personnel perceptions (board, staff, volunteers)
What‘s wrong with this picture?
Take-aways
• Like other community anchors, cultural anchors have a significantopportunity to contribute to “community vitality”• Combined, these three cultural anchors identified 147 example partnerships• Personnel across these three are even more deeply engaged
• Cultural anchors’ core programs can expand their potential communityimpact• Bold, visionary programs can enhance community outcomes• Demonstrated community impact may lead to greater external investment into anchors
• Measuring success is not easy, but important• A broad array of relevant indicators is required to understand impact• Devoting resources to gathering impact measures across time has not yet been a high priority
• Focus on the impact chart• The gap between “city identity”, a category of higher perceived impact, and “civic leadership”, a
category of lower perceived impact, needs to be bridged.
Take-aways
• Most often qualitative and anecdotal, success is not consistentlymeasured• Impact is rarely documented at the program level
• Decisions are based on “band-width” instead of evidence• Inertia drives programming
• Little or no correlation between financial investment and outcome• The key to success is human resources• Personnel are independent enablers of an anchor’s community entanglement
44 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Cultural Anchor [Working] Definition
Culture Anchors
As place-based entities that engage in and with numerous, diverse partners (directly through partnerships and indirectly through their personnel), anchor cultural institutions have the potential to bring crucial, and measurable, benefits to local children, families, and communities as well as the field and beyond.
Anchor cultural institutions are poised to serve as the front door for a community and enable opportunities for community building and knowledge sharing.
Adapted from the 2013 Anchor Dashboard by The Democracy Collaborative
45 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Cultural Anchor [Working] Framework
Diverse and Thriving Artist Entrepreneurship
Vibrant Arts and Community Development
Entanglement and Dialogue
Supportive of Cultural Awareness
Bold Visionary Programs
Engaged and Vital Anchor Institution
Educated Youth
Lifelong Learning
Economic Community Building
EducationAnchor Mission
Alignment
Internal and External Indicators
• Artist and cultural asset inventory• Community and stakeholder surveys• Presence in civic functions and media• Role as convener/facilitator• Participation rates and demographics• Direct/indirect economic activity• Locally reflective personnel and
partnership portfolio• Investment in the cultural ecosystem,
programs, ED+I, training, support, and civic engagement
46 © 2017 The Andrew W. Mellon Foundation by AMS Planning & Research
Targeted Results of Funders for Anchors WorkDiverse and Thriving
Artist Entrepreneurship
Vibrant Arts and Community Development
Entanglement and Dialogue
Supportive of Cultural Awareness
Bold Visionary Programs
Engaged and Vital Anchor Institution
Educated Youth
Lifelong Learning
EconomicCommunity
Building
EducationAnchor Mission
Alignment
TFN’s Anchor Institutions Funders’ Group Report (August 2017)
The role of anchors is an active, ongoing conversation across and beyond the arts
Anchor framework adapted from the 2013 Anchor InstitutionCommunity Benefit Dashboard by The Democracy Collaborative
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