Join Arts For LA on ArtsDay 2013 for the City Council meeting in the John Ferraro City Council Chamber of Los Angeles City Hall.  The meeting begins at 10:00 a.m.

ArtsDay is an opportunity to unite artists, audiences, and arts organizations with the leaders who represent them in City Hall. The first 250 people to sign up to attend will receive a free, awesome T-shirt designed by a local artist.

This is a chance for EAL/LA members to get excited about their district and join others in advocacy for the arts. ArtsDAy highlights the arts from all spheres of life, from education to business, public safety to health care, transportation to innovation.

You can participate in a vareity of ways that include joining Arts For LA for the city council meeting (direct sign up here), thanking your council member (here), and posting this badge to your social media page.

By K. Ryan Henisey and Stephanie Stallings

The good news: arts leaders are encouraged by the high salaries of performing artists, the size of the arts sector’s impact on the LA area economy and the wide variety of arts represented in the Otis Report on the Creative Economy of the Los Angeles Region . The bad news: those same leaders are surprised by the projected slow growth of the economic rebound and they want more and clearly defined data. Overall, arts leaders are impressed that this research is being done and are pleased by the amount of economic weight the arts have in our community. The question remains then, how do we use this information –  for advocacy and to form partnerships?

One can easily see how the 2012 Otis Report emerges from the trend of attempting to determine the economic value of the arts for advocacy and funding purposes—an attempt also seen in Americans for the Arts’ release of the national Arts and Economic Prosperity IV last year.

While the AEP IV focuses on the economic impact of the nonprofit arts and culture industry, the Otis Report gathered data in new and interesting ways. Building on Richard Florida’s “creative class” theories, it incorporated the local visual and performing arts economy into the larger scheme of creative enterprise in the Los Angeles region. By doing so, it makes a much more persuasive argument about how the arts contribute to overall economic development.

The report mattered to the leaders gathered at the LA Stage Alliance and Emerging Art Leaders / Los Angeles event on Monday, February 4th, because it shows that the “creative economy is the fourth largest employment cluster” and “creates one out of eight jobs” in the region.  It states that “direct and indirect employment in the creative industries based in Los Angeles County totaled 589,600 jobs in 2011.” These numbers have an impact on the regional economy and on the creative sector.  The report also moves away from the “art for art’s sake” model built on the attempt to convey the intrinsic cultural and aesthetic value of the arts, an approach that has lost much of its efficacy due to shifting demographics and economic uncertainty.

In a workshop led by Terence McFarland, CEO of LA Stage Alliance, 25-30 LA Area arts leaders and emerging leaders tackled the Otis Report on the Creative Economy for 2012. The widely diverse group discussed challenges, hopes, and action steps needed with this large report on creative money making.

McFarland led a lively discussion with break out groups covering the Otis Report as a whole. Participants discussed their biggest surprises and worries concerning the report and ways to leverage the information to further the creative economy and economic growth in LA.

Though largely representative of nonprofit arts organizations, the participants discussed actions and displayed an interest in using the information presented within the Otis Report to further enhance the creative economy of the region. Many members called for further work with local chambers of commerce and policy makers, developing a wider nonprofit community dedicated to furthering the creative economy, and building lines of communication concerning economic growth in the arts sector to city councils, law enforcement, and more.  These thoughts reveal of willingness for cross sector collaboration in the development of a total creative economy among participants.

There were some concerns with the report voiced in the room.  There were questions concerning the data, especially ways in which nonprofit arts organizations were lumped with for profit arts and Hollywood. One of the largest complaints across the room was that the report did not clearly define what constituted the creative economy – for instance, the inclusion of journalism as an arts sector with no inclusion of any other publishing media.  Participants pointed out other missing bits of information including statistics on higher education, job placement, and job loss across the arts sector.

Overall, the atmosphere was positive, with participants clearly concerned with how to effectively use the measurements of the Otis Report in meaningful ways across LA.  It was remarked with seriousness that the Otis Report reveals LA to be an arts capitol in our nation. McFarland and EAL/LA closed the evening with a promise to keep the conversation alive with more sessions dedicated furthering the impact of the data and the creative economy.

More than anything, the Otis Report gives us data about how the arts interact with other areas of the creative ecosystem in the Los Angeles region. It’s now up to us to leverage the data and continue to build coalitions that recognize the unique contributions of the for-profit and non-profit arts to education, connectivity, engagement, and economic prosperity.

LA Opera seeks a Community Programs Associate for their fast-growing, award-winning Education and Community Programs department. Reporting to the Associate Director of Education and Community Programs, the Community Programs Associate is responsible for the coordination of LA Opera’s community outreach programs, developing community relationships, managing the volunteer-staffed Community Educators and Library Project, and administering college programs.

Qualified candidates will be highly organized and have a degree or experience in arts, arts management or arts education. Applicants will have worked extensively in Word, Excel and Outlook, and have experience with database applications. Qualified candidates will also demonstrate the ability to attend to detail in a fast-paced, multi-tasked environment and have strong written and oral communication skills, as well as an aptitude for interacting well with the public. Bilingual a plus but not required.

This is a part-time position, offering approximately 29 hours per week. There is some flexibility in setting hours during the business week; however, the work schedule may vary and will include some nights and weekends.

Please send résumé and cover letter with “Community Programs Associate” in the subject line to:
E-mail: jobs@laopera.com
NO PHONE CALLS PLEASE

This post was submitted by Laura Bennett.

Welcome to April’s Creative Conversation.

The videos below are Terence McFarland’s keynote address at CC: Lessons from Social Entrepreneurs. McFarland is the Chief Executive Officer of LA Stage Alliance and share’s his story and tools that have helped him lead his organization.

The seven videos are just under 60 total minutes. They cover the majority of the Keynote address. The closing remarks are cut off.

[Part One, Two, Three, Four, Five]

Spring break is over. The teachers and students have all returned to the last quarter with bright eyes. Schools across the country are gearing up for testing, but our small art mentorship program is making sure we take a break from all those test taking strategies. Last week, my students and I once again dipped our feet into the refreshing coolness of watercolors.

For this week’s program, I wanted the students to explore primary colors. I was very pleased that the majority had remembered red, yellow, and blue were primary from our color wheel lesson. I gave the students two mini lessons, one on primary colors and another on watercolor as a medium. After the lessons, I released the students to their art. I allowed them to paint any subject they wanted but required that they stay within the primary colors, without mixing too much. They don’t know it, but this lesson and practice was designed to set up our next lesson on Inuit Art.

Class went well. I love talking with the students. I’ve found that the extra one-on-one time they get with me has an encouraging effect on all of them. It even has one on me. We often find ourselves joking around, singing, and laughing at ourselves through the art class. Sometimes, they start to tease each other but I always stop that. “Mr. Henisey doesn’t like that,” one of the girls called out when a bout of Your Momma Jokes started up. She was right. I’m fine with playing, but I insist on an atmosphere of kindness and positivity. I’m proud of the students for monitoring themselves. I never had to ask them to stop. Group consensus did all of the work.

During the off week, I’ve been setting up the remainder of the program. NASA and the local Museum are almost set. I still have a bit more coordinating to do with them. Our field trip in May is ready to go; it is approved by both the museum and the school board. I also have all the materials we should need for our final project (which will take up the bulk of our May sessions).

Stay tuned for more.

This post appears simultaneously at LifeasGood.com.

Development Assistant
Position Description

The Broad Stage is a state-of-the art performing arts center based in Santa Monica, dedicated to enriching the lives of all people on the Westside and beyond through music, theater, dance, and arts education programs. Five years young, The Broad Stage seeks to become a model for 21st century arts presentation and fundraising.

The Broad Stage seeks a Development Assistant to expand the capacity of The Broad Stage through a larger and more engaged donor base. The Development Assistant will work closely with the Director of Development to implement fundraising initiatives in the areas of major gifts, foundation, and government giving, as well as support in all areas. The ideal candidate will be flexible, dynamic, and passionate about the arts.

Responsibilities
• Provide administrative support to Director of Development, including developing proposals, presentations, and promotional materials; documenting interactions with donors; coordinating tickets and providing customer support to major donors; and communicating with targeted stakeholders
• Facilitate cultivation and stewardship of donors via processing acknowledgements and membership benefits in a timely manner, drafting correspondence and proposals, communicating directly with donors, generating information for programs, and providing customer service
• Assist in maintaining data hygiene of Raiser’s Edge database
• Conduct ongoing research to identify matches between The Broad Stage goals and the current objectives, priorities, and giving guidelines of grant funders and prospective donors
• Maintain foundation and government support calendars to ensure that all proposals, reports, and letters of inquiry are completed in a timely manner
• Assist at cultivation events from onsite coordination to follow up
• Assist in renewing and upgrading current donors through membership table presence at performances

Reports to Director of Development.

Qualifications and Experience
• Excellent communication and interpersonal skills to interact effectively and diplomatically with donors and the public
• Strong motivation to succeed, self-starter, ability to work independently and as part of a team
• Ability to balance multiple competing priorities, complex situations, and meet tight deadlines
• Flexible schedule- The position requires working evening and weekend performances and events
• Ability to manage sensitive and confidential information with integrity
• Excellent computer skills including Microsoft Office as well as Adobe and database programs
• At least one year experience in membership, development, event production, or administration, preferably within a performing arts organization or other nonprofit setting

Compensation and Application Instructions

This is a full-time position with benefits. Applicant should provide a letter describing his/her interest in and qualifications for the position, a resume, a writing sample, salary requirements, and three references (references will only be contacted with consent of the applicant). Applications will be confidential. Applicants must be US citizens or residents or have a valid visa and documents to work in the US. Please email applications to employment@thebroadstage.com. The Broad Stage is an equal opportunity employer.

This post was submitted by Darcy Zacharias.

Originally posted on ARTSBlog as part of an Emerging Leaders Blog Salon.

–

Anyone reading on ArtsBlog has likely already drunk the Kool-Aid.  You know the benefits of an arts education and lifelong arts participation.  You know that the arts are everywhere, in everything, for everyone.  I’m not going to be another repetitive voice confirming your beliefs.  I’m going to point to some great activities happening in the Los Angeles and, hopefully, present some subversive ideas for how to make artistry the norm.

The introduction:  I’m Tara Aesquivel, formerly known as Tara Scroggins.  I think I’ve been invited to this blog salon because of my role as the Executive Chair of Emerging Arts Leaders/Los Angeles.  My subsequent posts will be related to several other items on my LinkedIn profile:

• Part 2: Arts + Sustainability-  My full-time job is being the Program Coordinator for the M.A. in Urban Sustainability at Antioch University Los Angeles.
• Part 3:  Arts + Education- I hold a seat on the Young Professionals Advisory Board at Inner-City Arts and have recently joined the Create CA movement.
• Part 4: Arts + Economy- I studied Cultural Economics at the University of Bologna, an opportunity through the Master of Arts Management  program at Carnegie Mellon University.

So what’s behind the title of my blog?  (Just after penning that title, I discovered that I’m not the only one publicly admitting that making the case isn’t working.)  What do I mean by that? First, we know that there are a lot of arts advocates doing amazing, excellent, hard work.  They are wonderful and their work is vastly under-recognized– and that’s my point.  As Diane Ragsdale alludes, there are a lot of resources going into advocating for the arts– there have been for decades– but the overall level of artistic participation and investment is minuscule in comparison to what it could be.  In the US, in particular, artistry is so frequently used as a signifier for something else (product quality, cool factor, social status) that we often have to consciously adjust our perspective to observe something purely for its artistic value.  We’ve been using our precious resources to make the case for the arts, loud and clear, for a long time.  The arts are still not widely accepted as an important part of life and culture.  We need a new strategy.

How do we meet people where they are instead of trying to drag them into a theater?  How do we reveal to people that art is already in their life and they already like it, rather than convincing them of the relevance of art made by dead white guys?  How do we use the American economic and education systems to our benefit?

I’m going to use the formula “Art + ___” and address a few areas of integration.  There are a lot of cross-sector partnerships happening out there, which is great.  However, I’m going to try to uncover deeper, inseparable connections.  I’m going to try.  I hope you’ll join me.

[Part One]

The students gathered for our second meeting, each one excited to paint, share their sketches, and explore more art opportunities.  Earlier in the week, I had drawn them a small flyer to remind them of our meeting.  I also called each student’s home to remind their families that we were having our second meeting. All twelve of the students came with eager minds and happy smiles.

After finding seats, I set the agenda for class; introductions, a poster contest, setting the subject for our final project, and color wheels with acrylic paints.  The students were very excited to see themselves mentioned in my previous post. The older children wrote down EAL/LA’s web address to share with their parents at home. I also printed and distributed a flyer for Antonio R. Villaraigosa’s African American Heritage Month Poster Contest. We discussed the rules of the contest, where to find information on the inventors, and supplies the students might need for their posters. I allowed each of the students to choose the support for their poster from a variety of papers.

With poster supplies and rules in hand, we began to discuss our final project.  I explained to the students that our subject could be anything as long as it related to school and the community. Many of the students shared ideas. After discussing famous landmarks, what the Antelope Valley could look like in the future, war planes, and more, the group settled on the theme of space exploration.  The aerospace industry, an air force base, and NASA helped establish the comminuty there today.  Hopefully I can get someone from NASA to visit our small group of artists. I know the group would love to hear more about space and space exploration.  I also know that some of the teachers in my district have NASA contacts.

We spent the last hour painting. The student were overjoyed to get their hands on heavyweight paper and paints. Most of them had no previous experience with acrylics as a medium. I allowed them to explore its elasticity and water soluble properties as we painted. We discussed color, identifying primary and secondary colors, and discussing how to make tertiary colors.  Everyone had fun mixing the paints – some more than others. We let the paintings dry overnight.

Over the last week, students have been coming in to discuss their posters. They all seem encouraged, both artistically and academically.  I sent them a nugde today – another hand drawn poster.

My favorite parts from the last couple of weeks were the calls I’ve made to each of the families’ homes.  Every parent I connect with is overjoyed to have their student exploring the arts.  I’m looking forward to calling homes again.

Next week – watercolors!  I will also attempt to contact NASA for a school visit and will start searching for a venue to show our projects. Stay tuned.

This entry also appears at LifeasGood.com.

Job Announcement: Program Manager (Half-Time)
Timeline: Open until filled (posted January 6, 2012)
Location: Los Angeles with ability to travel

Background
The Alliance for California Traditional Arts (ACTA) promotes and supports ways for cultural traditions to thrive now and into the future by providing advocacy, resources, and connections for folk and traditional artists. Recognized for its culturally competent leadership, intellectual capital, and excellence in program administration, ACTA is the California Arts Council’s official partner in serving the state’s folk and traditional arts field. ACTA helps people connect to their past and keep traditions a central part of life today and tomorrow. By supporting folk and traditional artists, ACTA supports the health, cultural continuity and diversity of California. Founded in 1997 by cultural workers, arts administrators, and traditional artists, it has grown into the multi-site $1.3M organization it is today, with headquarters in Fresno and a field office located in San Francisco. In early 2012, a Los Angeles field office will launch.
Position and Responsibilities

The Alliance for California Traditional Arts (ACTA) has an opening for a Program Manager to serve the Southern California region. The Program Manager reports to the Executive Director based in Fresno. The term for this position is 12 months, working 20 hours per week. The contract may be extended contingent on available funding. This part-time position requires ability to travel, principally in S. California for outreach and fieldwork.
The Program Manager will be responsible for launching a new field office and for providing regional services across ACTA’s three core programs – the Living Cultures Grants Program, Apprenticeship Program, and Traditional Arts Development Program. Networking and field research will be a vital part of developing a more robust Southern California regional service for ACTA.

Responsibilities include the set up and management of a Los Angeles office; networking with S. California arts and cultural networks; contributing to a database of regional traditional artists, arts organizations and groups; conducting discovery research to reach a greater number of S. California based traditional artists; conducting site visits to ACTA grantees, including providing written reports and media documentation; facilitating outreach meetings and giving presentations to prospective applicants; offering assistance to prospective applicants; writing articles for ACTA’s website and The New Moon e-newsletter; working in collaboration with ACTA’s other program staff based in Fresno and San Francisco; and other duties as assigned.

Qualifications
· B.A. degree in folklore, cultural anthropology, ethnomusicology, or related field and/or at least two years experience with designing and implementing public programs related to traditional or community-based arts; M.A. or Ph.D. degree preferred.
· Prior work and expertise demonstrating cultural competence with diverse communities and cultural traditions.
· Experiences with and knowledge of Los Angeles communities and organizations.
· Excellent writing, speaking and networking skills.
· Ethnographic fieldwork and research skills including media documentation.
· Computer skills using Microsoft Word, Excel.
· Administrative skills, including ability to manage a small office.
· Ability to work independently as well as to function as part of a team.
· Spanish or other non-English language abilities a plus.

The successful candidate will have a strong commitment to the mission of providing stewardship for the folk & traditional arts in California and a respect for and interest in furthering the strengths and accomplishments of the Alliance for California Traditional Arts, its staff and Board.
Location: The program manager will be based in Los Angeles with ability to travel statewide.

To Apply:

Send a hard-copy OR email letter of interest, resume, and the names, addresses and telephone numbers of three references to:
Alliance for California Traditional Arts
Attn: Search Committee
1245 Van Ness
Fresno, CA 93721
info@actaonline.org
Salary: Competitive salary commensurate with experience, plus benefits.
The Alliance for California Traditional Arts is an Equal Opportunity Employer.

Inner-City Arts is a multi-disciplinary arts campus located in the heart of downtown Los Angeles, serving over 10,000 children, youth, teachers and families during the school day, after school and on weekends. We believe the arts are the cornerstone of a high-quality education that levels the learning field across socioeconomic boundaries.

Inner-City Arts is seeking an experienced Grant Writer to join the Inner-City Arts Development Team. Reporting to the Deputy Director and working collaboratively with program staff, other members of the Development Team, and the Inner-City Arts community, this person shall have a strong attention to detail, a positive outlook, and an interest in education and the arts.

Responsibilities: The Grant Writer is responsible for all activities associated with the researching, writing, and reporting of grants at Inner-City Arts and reports to the Deputy Director. Specific responsibilities include:

• Research potential sources of funding among foundations, corporations and government agencies. Identify specific areas of focus and eligibility requirements, and match the results with Inner-City Arts’ needs, programs and mission.
• Review publications and online resources for information regarding funding opportunities and development ideas.
• Write persuasive and compelling letters of inquiry, proposals, applications, reports and other materials as assigned.
• Track grant application due dates, assess advance data gathering and source requirements for each funder, and prepare material to complete the applications.
• Gather information and data pertaining to Inner-City Arts programs, initiatives and activities that can be used to support grant proposals.
• Work with the Chief Financial Officer to prepare required financial statements for proposals and reports.
• Prepare profiles of potential funders, including their boards or trustees, so that networking opportunities can be identified and utilized as appropriate. Maintain both online and paper files for each potential funding source.
• For successful grants, review the grant agreements and ensure that all reporting requirements and deadlines are met. Ensure compliance with content requirements and submission deadlines for all interim and final reports to foundations.
• Prepare and maintain a schedule of development tasks relating to grant writing (i.e., Development Tickler Excel file).
• Create, proofread and edit documents, publications and online copy for all Inner-City Arts departments as needed.
• Create and maintain a library of templates, consisting of written descriptions of Inner-City Arts, its history and mission, programs and services, population served, financial condition, philosophy and vision.
• Handle any tasks or activities as defined by supervisor or CEO as needed.

Qualifications:

• Demonstrated superior writing skills. Knowledge of marketing concepts a plus.
• Prior grant writing experience in the non-profit community preferred.

• Bachelor’s degree in English, Journalism or other related field required, master’s preferred.
• Knowledge of philanthropic, corporate and individual giving in the non-profit landscape.
• Exceptional organizational, communication and project management skills.
• Advanced computer skills in Microsoft Office products: Photoshop a plus, PC and Mac literate.
• Proficient using fundraising software and informational databases. Knowledge of Donor Perfect preferred.
• Experience working with social media applications (e.g., Facebook, Twitter).
• Self-starter with the ability to multi-task and to work both independently and with specific direction. Works well in a collaborative and team-focused environment.

HOURS: Full-time position/40 hours per week including evenings, early mornings or weekend hours.

LOCATION: Inner-City Arts is located in the downtown Los Angeles Warehouse District, adjacent to the Produce Mart and Skid Row.

TO APPLY: Mail/Fax/ Email resume and cover letter to: Human Resources, Inner-City Arts Attn: Grant Writer, 720 Kohler Street, Los Angeles, CA 90021; Fax: 213-627-6469;

Email aubrey@inner-cityarts.org. No calls please.