CCA Bulletin 26/09

October 29, 2009

Privatized Culture in Bad Times:

Evaluating the American System of Cultural Patronage

Just the Facts

On Tuesday, October 20, the Canadian Conference of the Arts (CCA), in partnership with the University of Ottawa, presented a lecture by Professeur Kevin Mulcahy, Sheldon Beychok Distinguished Professor in the Department of Political Science at Louisiana State University, who discussed the evolving model of American cultural policy within the context of the economic downturn.

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The presentation touched on the state of American cultural patronage, policy and public participation in the arts and the impact the recession is having on the US model. Contrary to Canada, support for the arts in the United States comes largely from individual donors. Donations also come from independent agencies, such as the National Endowment for the Arts, and foundations but these are to a much lesser extent.

It was pointed out that, once again contrary to the Canadian model, the National Endowment is actually a minor grant giving authority, despite the fact that it operates at the federal level. Instead, local agencies typically give out more money and support to the arts.

For the first time since 1987 there has been a drop in money for the arts, either through grants or individual donations: $306 billion in 2008 down from $307 billion in 2007. This drop is an alarming wake up call for an examination of how support can be generated and sustained.

How can that much needed support be attracted? Overall, there is a rising demand in the United States for the arts to “carry their own weight” rather than rely on public subsidies to pursue art for arts sake. Philanthropic giving can come with unwanted demands that may not be in the best interest of the arts organization.

Referring to the massive public money poured into the American economy by Washington over the past several months, Professor Mulcahy questioned why there was no economic bailout for the arts although 80% of arts organizations have reported some level of fiscal stress. Donations are falling and it is clear that many arts and culture organizations are using their endowments for daily operations. Programming has been affected as well and is becoming more conservative in an effort not to alienate the people who are giving money. This trend strikes a blow to the avant-garde and the exploration of new and modern ideas.

The reality of falling support for the arts is “Cultural Darwinism,” a phenomenon that would weed out all but the strongest or, paradoxically, the smallest arts and culture bodies. Mulcahy confirmed that performing arts organizations in US medium sized cities are currently the most endangered.

Tied into the question of support for the arts is the myth that the arts are “elitist”. Mulcahy stated that this is especially problematic in the United States where a new sports arena is much more likely to be built and subsidized than a new gallery. Interestingly enough, a recent study * based on 17 American cities found that there is little difference in audience demographics between sports and arts patrons. The athletic audience is slightly more male than female and the cultural audience is slightly more female than male. Differences in age and income do not differ significantly. The key to sustainable audiences might lie in embracing “Cultural Omnivores,” people who go out to everything and are supporters of live, real-time activities.

Mulcahy ended with a call for entrepreneurial leadership, but with a new definition. He spoke to the need to create linkages among stakeholders in the arts and the motivating factor of “relational giving” – people giving to what they believe in. Enhancing a community’s value is important to everyone and is not just the responsibility of one interest group.

The presentation was followed by a question and answer session. Some of the questions posed to Professor Mulcahy dealt with further probing the issue of cultural entrepreneurs. Mulcahy answered that entrepreneurial leadership should be coming from people working in the cultural industry who want to form those bonds with stakeholders and create a community of support.

Audience attendance was another concern raised in the question and answer session. Participants questioned the dramatic drop off in the average age of attendance at orchestras and the opera before the age of 47. The problem was thought to be an issue with the formality of the venue, not the substance of the art. One participant cited a study at the Musée des beaux-arts de Montréal which found that the greatest barrier to regular attendance were self-imposed hurdles and the perception of a barrier rather than an actual barrier.

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* Reference: Sarah S. Montgomery and Michael D. Robinson. “Take me out to the Opera: Are Sports and Arts Complements? Evidence from the Performing Arts Research Coalition Data,” International Journal of Arts Management, Vol. 8, No. 2, Winter 2006 pp 24-37.