|
|
|
Intangible Assets
Despite an improved financial outlook,
the non-profit arts community remains a labor of love, not luchre
|
Business New Haven
5/3/1999
By: Sheila A. LaSella
|
Imagine greater New Haven without its lively musicians and symphonies, its film houses, the vibrant theaters and beautiful museums, galleries and painters - a bleak landscape, especially against the background of the sterile, electronically driven information age.
No matter how high the fidelity of a digital recording or how crisp the resolution of an electronic image, they can never match the experience of an exhilarating live performance or stunning art exhibit.
The intangible qualities art brings to the world can be priceless, yet words like “non-profit” and “starving” are commonplace descriptions of the organizations and individuals who brighten the often harsh culture with their artistic gifts.
While some regional arts organizations appear to be growing and artists are able to find employment, few make a profit or a living. It seems that the status quo permeates even avant-garde circles.
Historically, since the time of the Medicis, artists have struggled to make a living. Today this community is still faced with financial worries and a myriad of challenges inherent in the arts industry.
The Connecticut Commission on the Arts, in partnership with the New England Foundation for the Arts, conducted a study to determine how the non-profit cultural industry impacts Connecticut's economy.
Throughout the state an estimated 17 million people each year attend arts events. The non-profit arts industry had an estimated impact of more than $1 billion in 1996. Spending by cultural organizations of all sorts exceeded $326 million in 1996, an increase of 115 percent over the last economic impact survey conducted in 1992.
The survey findings show that Connecticut's non-profit arts and cultural industry in 1996:
• Provided 30,546 jobs.
• Generated $516 million in revenues.
• Had total expenditure of $502.6 million.
• Benefited from the labors of 123,119 volunteers.
• These volunteers contributed 2.7 million hours of unpaid assistance.
In sum, Connecticut's non-profit arts and cultural industry had a total economic impact of over $1.36 billion. This figure includes indirect spending of $257.7 million by arts and cultural organizations and direct spending by audiences of $600 million.
Take the recent fourth annual Film Fest New Haven that took place April 9-11 at York Square Cinema, the Little Theater and the Whitney Humanities Center in the Elm City. This three-day celebration of small-budget independent filmmaking exhibited 16 features, 51 shorts and four special programs, drew an estimated 4,000 to 5,000 into New Haven and generated approximately $15,000 to $20,000 in ticket sales. Last year the crowds totaled around 3,000 and sales were approximately $7-10,000.
Small potatoes? For now. But, “We've doubled each year. We are maxing out our venues. Next year we will have to add a venue because this year we sold out,” explains Nina Adams, festival director.
The festival operated with a $250,000 budget and an all-volunteer staff with a core of ten to 12 people, which expands to as many as 150 during the festival.
Financial support came primarily from Newman's Own, Bell-Atlantic Mobile and the Community Foundation for Greater New Haven.
Adams says that her group hasn't turned to traditional public or arts organizations for financial support because there aren't enough funds in those areas. “My plea is for a true wedding of business and the arts,” she says. “That's what this area has to offer in terms of tourism and to attract the population to live here. The arts are the glowing showcase in this area.”
A modest economic spin-off came to the city as festival patrons spent their dollars at local businesses. “We flood the city in a small way for the weekend,” Adams explains. “We filled up the Colony Inn and the Hotel Duncan, ate in the restaurants, visited nightclubs like Bar, used catering services of Clark's Pizza. We really did use the town and the business resources.”
Fiscal challenges lie ahead while festival organizers contemplate a transition which needs to accommodate the growing audience hunger for films not exhibited at multiplex theater chains. Adams wonders how to grow in number, size and frequency while maintaining a high quality.
A larger event will necessitate more staff and a different level of support - support that Film Fest hopes will come in the form of corporate sponsorships.
Bottom-line reality has prompted Seven Angels Theater in Waterbury to initiate a $1.2 million fundraising campaign.
The 350-seat theater, housed in historic Hamilton Park Pavilion, was founded in 1990 and currently has a subscriber base of approximately 2,000. It draws more than 35,000 people to 200 performances a year. During 1998, this novice performing-arts organization had an economic impact of $1.5 million on the Waterbury region.
“We are still young and still catching on. People are still learning about us,” says public relations director, Sylvia V.S. Abbate. “But we are in a growth spurt.”
In addition to the main stage subscription series of five professional shows a year, Seven Angels produces a youth program entitled “Bright Lights,” does community theater, and this summer will introduce the first New England Comedy Festival, which Seven Angels expects will draw several thousand attendees.
Even with the growing public interest in this Brass City gem, being a non-profit organization has created the need for fundraising.
Gov. John G. Rowland is one of the honorary chairmen for the campaign and recently spearheaded state support for an air conditioning system after spending a hot night in the theater, according to Abbate.
Capital and program needs require a boost from a major fund drive. The theater has already received a $300,000 grant from the state's Department of Economic & Community Development, $50,000 from corporate sponsor MacDermid Inc., and radio station WATR has pledged $8,000 in advertising support.
“People who do come here fall in love with it and become supportive either as volunteers or subscribers,” Abbate says. “Once they come through the doors they have a sense of ownership.”
A longer-lived organization, the Greater Bridgeport Symphony Orchestra, now in its 53rd year, has proven that despite modest income, non-profit woes can be managed over a period of years.
Established in 1945, the 75-piece orchestra's home is Klein Memorial Auditorium. Gustav Meier is its music director of 25 years.
The symphony plays a five-concert subscription series from October through April and a free outdoor summer pops concert which draws up to 10,000 people. It also collaborates with city schools on educational programs.
Along with the usual financial challenges inherent in non-profits, the Bridgeport Symphony has to overcome some obstacles all its own. The Park City's reputation for drugs and crime has certainly deterred some music-lovers from venturing into the city at night over the years. Recently a new, well-lit municipal parking lot was built which can accommodate growing audiences and provide secure parking.
“Our audience is very loyal, and many have been coming for a very long time,” says Jena Maric, the symphony's executive director. However, like its peers elsewhere, that audience is aging. The support the symphony receives from the 55-plus age group is not currently being replaced by any other age group.
“We are challenged to bring music to varied audiences, and an effort is being made to build new audiences,” explains Maric.
Susan Spaulding, principal French horn player and a member of the Bridgeport Symphony for six years, concurs that while public support is essential in order for the orchestra to survive, it needs to put energy into educational outreach programs which will cultivate young people, who will one day become regular audience members.
Spaulding teaches music to 40 students through the community division of the University of Hartford's Hartt School of Music and performs with the Eastern Connecticut, New Britain, Meriden and New Haven symphonies in addition to the Bridgeport orchestra.
While she recognizes the importance of teaching music to children and taught in public schools for years, Spaulding has taken on new responsibilities.
“You have to try to get contracted with as many orchestras as you can and then juggle the schedules. For instance, I was contracted at four city orchestras and they all had their holiday performances the same weekend, which cut my income down by 75 percent for that month,” laments Spaulding. “It's a juggling act.”
Given the number of hours between travel, rehearsal, practice and performance, the per-hour wage is “really kind of pitiful.” says Spaulding.
Standard benefits and insurance are not usually part of the artist's package. Although she has managed to get health insurance through the University of Hartford, Spaulding says most freelancers have no form of insurance, or catastrophic insurance at best.
Despite the hardships, Spaulding says, “I feel very lucky that I'm able to do this. because the majority of the people that I graduated with who were music majors are now doing something else and may do music part-time. I feel lucky that I've been able to make a niche for myself.”
A niche is just what New Haven-area painter Chris Mir is carving out for himself. Painting for almost ten years and in New Haven for the past two, Mir views the area as “kind of a way-station where you can be close to New York and go to the museums and galleries but not pay exorbitant prices for living.”
Mir works as an art handler at the Yale University Art Gallery during the day and a painter in his Erector Square studio the rest of the time.
Last year the New Haven Artists Open Studio gave Mir the opportunity to show his work and receive feedback from the local community. “It was a good turnout; about 50 to 70 people came through studio. I got varied responses: Some people talked about ideology and some about my work specifically, which was good feedback,” says Mir.
While Mir expresses a sense of isolation in the local artistic community due mainly to his schedule, he has proposed a show at the John Slade Ely House with a group of four other artists.
“New Haven is a great place to get stable,” Mir says. “My intention is to become well trained as an art handler and to continue to generate strong work. I would like to be selling work regularly in a gallery in Chelsea or SoHo and living in New York in three to five years.”
Given the struggles of working as an artist or running an arts organization - low (or sometimes no) pay, long hours, unstable job security - one has to wonder why people in this field persevere.
Spaulding explains. “I spent a lot of years not being entirely happy but doing something because I felt I had to. I feel like I make a unique contribution and that this is what I'm intended to do. I have to do something that is productive, helpful to society and that is unique.
“Otherwise, why do it?”
|
Go FirstGo PreviousGo
NextGo LastGo
to Index
|
|
