Beyond Green: The Arts as a Catalyst for Sustainability

The creative sector has played a significant role in efforts to raise awareness of the impacts of climate change and encourage sustainable social, economic, and environmental practices worldwide. Many artists and cultural organizations have embarked on remarkable projects that make us reflect on our behaviors, our carbon footprints, and the claims of infinite growth based on finite resources. Sometimes treading a fine line between arts and advocacy, they have sparked extraordinary collaborations that reveal new ways of living together on a shared planet. The 'art of the possible' will become even more relevant as 2016 dawns - bringing the challenge of how to implement the Sustainable Development Goals and the Climate Change Agreement adopted at the end of 2015. Yet with negotiations overshadowed by scientific controversy, political polemic and geographic polarization, individuals can easily lose faith in their own ability to shape change beyond the hyperlocal level. Against this challenging backdrop, could the arts and creative practice become a particle accelerator - to shift mindsets, embrace new ways of sharing space and resources, and catalyze more creative leadership in the public and private spheres? The goal of this Salzburg Global Seminar session was to build on path-breaking cultural initiatives to advance international and cross-sectoral links between existing arts and sustainability activities around the world, encourage bolder awareness-raising efforts, and recommend strategic approaches for making innovative grassroots to scale for greater, longer-term impact

Making Meaningful Connections: Characteristics of Arts Groups that Engage New and Diverse Participants

For the last two decades, arts organizations of various kinds have focused increasing attention on participant development. Many have become more customer-centered in their practices and have successfully attracted more or different participants to their programs. These efforts have produced a growing body of knowledge on effective arts engagement techniques -- the specific programming, marketing and social media strategies that organizations are using to attract participants.Smart programming and marketing strategies are critical, and they have helped many cultural organizations attract new participants for specific programs. Depending on the organization, targeted populations have included teenagers, young adults, African American professionals, families, Latinos, veterans' groups, low-income populations, Arab Americans and others. Yet overall, the participant mix for the majority of cultural institutions remains largely unmixed. It is still the rare cultural organization whose regular participants truly reflect the socio-economic, ethnic or generational demographics of its wider community.This report offers an initial framework of key organizational characteristics for cultural institutions that are genuinely engaging participants who reflect their communities' changing demographics. It is not comprehensive, and the concepts outlined here may apply differently to different kinds of institutions. This summary is intended to spark thinking and discussion among organizations that are interested in better connecting with diverse participants and sustaining those relationships over time. It may also spur further experimentation and testing, and encourage leaders to deepen their understanding of the organizational dynamics that are essential to achieving more diverse participation in nonprofit cultural institutions.This research sought to understand the underlying organizational characteristics of successful engagement of diverse participants by arts organizations. The findings presented are a synthesis of research from multiple sources

The Rockefeller Foundation Program NYC Cultural Innovation Fund: Evaluation

The Rockefeller Foundation launched the NYC Cultural Innovation Fund (CIF) in2007. Since then, it has supported six rounds of annual grantmaking, resulting in99 grants to 86 nonprofit cultural and community organizations in New York City.Grants across the six years 2007–2012 totaled $16.3 million.An Evaluation Team headed by Helicon Collaborative assessed CIF for the periodDecember 2012 to May 2013 based on Terms of Reference issued by the RockefellerFoundation in September 2012

Not Just Money: Equity Issues in Cultural Philanthropy

This report summarizes the main findings of the recent research, revisiting the reasons why addressing diversity and equity issues in the cultural sector matters more than ever and reviewing six key findings related to national and local patterns of funding distribution, the demographics of people making funding decisions, and the distinct issues facing cultural organizations whose primary artistic mission is to serve communities of color or low-income communities. It concludes with suggestions for how to speed progress toward a more inclusive and equitable system of cultural philanthropy

Arts Funding Snapshot: GIA's Annual Research on Support for Arts and Culture, 2011

Includes: Foundation Grants to Arts and Culture, 2009: A One-year Snapshot, Public Funding for the Arts: 2011 Update, State Arts Agencies in the FY2012 Legislative Session: Challenges, Headlines, What's Working, and How Are Private Funders Responding to Cuts in Public Funding

Some thoughts on consumer behaviour

Many of the factors that are likely to have the most critical impact on not-for-profit arts and cultural organizations in the U.S. and Europe ? the size and composition of audiences, the availability of suitable cultural product, the underlying economics of presentation, etc. ? lie beyond the immediate environment of nonprofit arts and cultural organizations in broader technological, demographic and social trends. This article explores three trends that are likely to have an impact on consumer behavior in the nonprofit arts sector in the coming years