Tag Archives: Oregon Arts Commission

Rocco at the NEA: The new arts czar shakes things up

What happens when you invite a rough-and-tumble whiskey guy to the vicar’s garden tea party? We’re about to find out. Last week President Obama nominated Rocco Landesman to be the next chairman of the National Endowment for the Arts, and suddenly crumpets beneath the arbor seem a little tame.

The NEA takes Shakespeare to AmericaLandesman, who owns and runs Jujamcyn Theaters on Broadway, is no not-for-profit guy. He takes chances and he makes money (and sometimes he loses it). He likes baseball, country music and horse racing, and he’s never been much for touchy-feely collaboration: He likes to run the show.

This is a guy, it seems, who’d as soon smash the not-for-profit cup as paint it with pretty posies.

So why are so many arts types beaming at the possibilities? “Rocco is no diplomat, but he’d blow the dust off a moribund organization that has contented itself in recent years with a policy equivalent of art appreciation,” Portland theater guy Mead Hunter writes approvingly on Bloghorrea. Christopher Knight at the L.A. Times’ Culture Monster says the whole thing startled him because he’d almost forgotten there was an NEA.

And a friend in New York arts circles is ecstatic, even if Landesman turns out to be a short-termer. “A lot of the time the guy who kicks a hole in the wall is not the same guy who goes through the wall,” she says. Of course, she adds, kicking a hole is no guarantee. The next person can either walk to the other side, or patch the wall and return to life as usual.

Certainly Landesman’s record as a theater leader — and increasingly, as an industry spokesman — is strong. Jujamcyn has five shows on Broadway right now, including “Hair,” “33 Variations” and “Desire Under the Elms,” and Landesman’s had a hand in shows as important as “Angels in America,” “Spring Awakening,” “The Producers,” “Grey Gardens,” the great August Wilson’s Broadway productions, the revivals of “Gypsy” and “Sweeney Todd,” “Big River” and “Doubt.”

He raised both hackles and hopes when he accused the not-for-profit theater world of acting too much like the commercial theater. It was an elephant-in-the-living-room comment, and not calculated to keep things warm and fuzzy. Is it true? In what ways? What’s the difference between for-profit and not-for-profit in the cultural world? I have my views. It’d be fascinating to hear yours. Hit that comment button and let’s start a conversation.

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The National Endowment for the Arts is a federal bureaucracy, and that makes its chairmanship an intensely political position. What began in a burst of optimism in 1965 as a part of the Great Society — Lyndon Johnson’s push to expand the economic and cultural advantages of the urban East to all corners of the country — devolved by the 1980s into an unwilling infantry skirmish in the nation’s cynical “culture wars.” The NEA, a truly democratic bureaucracy, was targeted by right-wing radical warriors as a breeding ground of unAmericanism, and its survival was thrown in doubt, although enemies such as Sen. Jesse Helms and polemicist Pat Buchanan needed it as a whipping boy.

Oregon lawyer John Frohnmayer, appointed NEA boss by the first President Bush, quickly learned it was all about politics. Pressured from the right and challenged from the left, he tried to parse the difference and ended up pleasing no one, especially after fumbling the divisive “NEA Four” case in 1990. The upshot: The NEA was weakened further, Frohnmayer lost his job, and he was born again as a First Amendment crusader. Free speech, he learned, doesn’t come free.

In the new storyline Dana Gioia, George W. Bush’s NEA chief, is the nice boring guy who threw the tea party that Landesman’s about to smash up. And there’s no doubt, the NEA has been far more timid than most people in the arts world would like it to be.

But different times call for different politics, and Gioia was stuck with the time he got. The man was no dummy. Yes, he was a soothe-the-ruffled-feathers guy. Yes, he emphasized things like folk arts and tended to bestow honors on the obvious sort of people who get hauled out to perform on public television pledge week. Yes, he oversold the tried-and-true and ducked the controversial.

But he also saved the endowment’s skin. After years of shrinking budgets and Congressional threats to kill the agency off, he steered the NEA away from the culture wars and succeeded in getting some modest boosts in its budget. He emphasized spreading the money around to small-population states and rural areas as well as the country’s cultural capitals, and he finally succeeded in persuading most of Congress that the arts are a good thing, even if he had to slap a smiley face on the product to push the sale through.

One thing sticks in my memory. Oregon was going through yet another of its periodic budget crises a few years ago and the state Legislature, looking for ways to cut costs, was floating the idea of killing the already slimly financed Oregon Arts Commission, which among other things funnels money from the NEA to recipients in the state.

I called Gioia and asked him what he thought of it. Well, gee, he replied, the problem is, we have this federal money to give out, and if there’s no state agency to give it to, we can’t legally give any of it to anyone in Oregon. Oregon’s share would have to go to other states. And that would be too bad. But of course, legally, our hands would be tied.

Nice, quick, apologetic, to the point — and very effective. That’s politics.

If Landesman shakes things up, it’ll be because the time has come to do some shaking. That’s politics, too.

The choir sings: Let’s kiss and make up

The angelic choir/Gustave Dore for "The Divine Comedy"Here at Art Scatter we just love a heavenly chorus. Harmony’s our thing, and we’re fond of kittens, too.

So why do we find ourselves hesitating to lend our voice to the call for a new song of reconciliation with the Oregon Legislature over its co-option of $1.8 million from the Oregon Cultural Trust? Maybe we just don’t like the tune. And maybe we think it’s not all that great an idea for everyone to be singing the same song.

Our friends at Culture Shock are taking the lead at keeping the Trust issue out in the open. Their latest reports are here and here, and they’re well worth reading, including the comments. Among other things, Culture Shock passes along in full yesterday’s tactic-shifting statement from the Oregon Cultural Advocacy Coalition on behalf of the Trust, a statement that includes this key passage:

Now is the time to change gears and recognize the difficult work of leadership. Legislators completed a brutal week where they voted on a package of bills that contained items they all personally disliked. They took votes that hurt and feel they did their best with few alternative options. They need some breathing room to get beyond the budget rebalance and focus on issues of the 2009 session.

In other words: The deal’s done, the point’s been made, and now the smart thing to do is back off, be team players, and work behind the scenes so we can get it back in the future and not lose even more. That’s the way politics works.

But that’s not the only way politics works. It also works by making noise. And if you’re lucky, the noisemakers and the peacemakers work in concert, each checking the other’s extremes and keeping them on course.

A little background, if you’re just checking in on this: The Oregon Legislature, in an attempt to fill an $855 million hole in the state’s current budget, made cuts across the board — including $1.8 million from the Oregon Cultural Trust, a state-administered fund that distributes grants to a variety of arts, cultural, historical, educational and tribal organizations in every Oregon county. Scroll down at Art Scatter and you’ll find several previous postings.

Unfortunately for the Legislature’s budget-balancers, the Trust’s money doesn’t come out of the state’s general fund: It’s donated by citizens directly and specifically for the Trust’s purpose. (In this case, the money came from sales of Oregon cultural license plates for people’s cars.) In normal circumstances — and certainly in private exchanges — money in a trust fund is inviolable: It can’t be grabbed for other purposes. To do so is, literally, a violation of trust, and that’s been the focus of this controversy.

So. Done deal or not — and I believe it is — the snatching of the Trust money has long-term implications, no matter how benevolent the Legislature’s short-term goals were. It’s still a violation of trust, its legality is still questionable, and it still raises the possibility that people will simply stop donating money to the trust because they have no assurance that their money will be used for the purposes they gave it. You can’t sweep that sort of stuff away. And you can’t sing it away.

You can work out compromises, using that old political one-two combo of kicking and kissing. Culture Shock’s Culture Jock passes along a KGW-TV news report that suggests Sen. Betsy Johnson, D-Scappoose, is leading an effort to translate the hijacking of the Trust money into a loan. That’s a promising development, and worth tracking.

Culture Shock’s Mighty Toy Cannon points out in a comment on one of his site’s recent posts that “the Legislature’s ‘brutal week’ [to quote the Cultural Advocacy Coalition’s Wednesday statement] began with a caucus at which party leadership banned negotiation on individual items on the sweep list.” That’s important to keep in mind. This was a lockstep vote by state Democrats, who agreed beforehand that the budget sweep was an all-or-nothing deal — and because they know how to count, they knew it would be “all.”

To certain key segments of the state’s cultural interests, political reality now says “It’s time to kiss and make up.” These are mostly the people, including those at the Trust, who have to play in the political arena all the time; people whose overall effectiveness relies on their ability to maintain good working relationships with the politicians whose votes ultimately decide these things. This is, indeed, the song they need to sing.

That doesn’t mean YOU need to kiss and make up, or that it’s a good idea for you to do so. In fact, it’s a very good idea for a whole lot of people to stay on the offensive on this issue. A cardinal rule of politics is, if you don’t make noise, you get forgotten. Stay quiet, and the raiding of the Trust will be both history and precedent. It’ll be easier next time. The Legislature needs to be consistently reminded that the public knows what it did was wrong, and that people will remember — and that votes are attached to those feelings.

So, choose for yourself where you line up now. If you think that tactically it’s time to play nice, by all means, do so. If you think it’s better strategy, and truer to your gut, to kick up a fuss, keep kicking.

The Legislature can act in lockstep if it wants to. That doesn’t mean the public — especially the public in a healthy representative democracy — has to do the same.

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Postscript: I appeared Tuesday morning on KOPB public radio’s Think Out Loud public-issues show to talk about the Trust issue. Paul King of White Bird Dance and I were studio guests. Rep. Mary Nolan, D-Portland and Oregon House majority leader, spoke at length via phone, explaining the Legislature’s point of view, and Christine D’Arcy, executive director of the Oregon Arts Commission and the Oregon Cultural Trust, also spoke via phone. Other phone-in guests included Steve Dennis, owner of Earthworks Gallery on the Oregon coast, and Greg Phillips, executive director of Portland Center Stage. The discussion was lively, and you can download the show from the Think Out Loud site.

In the Oregon Legislature, a matter of broken Trust

This is exactly what was never supposed to happen. This is the breaking of the devil’s deal the Oregon Legislature made to keep the culture lobby off its back.The pickpocket, in  formal attire/Wikimedia Commons

This is what happens when an entire state thinks that “fiscal responsibility” means tax kickback checks to citizens in flush times, $10 corporate income taxes in all times, trying to balance the state budget on a two-legged stool (property and income taxes, but no sales tax to keep the stool from tipping over), and a pig-headed refusal to recognize — in Oregon, of all places — that you need to plan for a rainy day.

Don’t look now, but it’s pouring.

And that’s why the Oregon Legislature, trying desperately to fill the gigantic hole in the state’s budget, is cribbing money from every place possible — including the Oregon Cultural Trust, as we reported in this earlier story and as political writer Harry Esteve explains in this morning’s Oregonian.

Let me be clear: I don’t blame the Legislature for looking at every penny available from every source as it tries to deal with this fiscal crisis. It’s a no-win proposition: No matter what our legislators do, on some level it will be wrong. This is a debacle made partly at the national and international levels, and partly by Oregon’s long history of pretending it can have a little bit of everything in life without having to pay for most of it. Now the piper’s at the door, demanding to be paid. And it’s the Legislature that has to figure out how to do it.

What’s depressing is that we’ve been down this road before. And the Oregon Cultural Trust was set up to ensure that in the toughest of times — which once again, we seem to be entering — vital cultural projects and organizations won’t be cut off at the root.

The deal the Legislature made on the Trust when it passed enabling legislation in 2001 was essentially this: Culture in Oregon will be pay-as-you-go, but we’ll help. We’ll establish a small beginning balance, we’ll sell cultural license plates to help fund the Trust, we’ll provide a nice tax break for contributions to cultural groups, and we’ll administer the thing. And then, please, leave us alone.

What that means is that every cent from cultural license plates and donations to the Trust has come into the state coffers with a clear, specific and supposedly inviolable earmark. The money was given for cultural purposes and no others. Using it for any other purpose is a moral violation of trust, and probably a legal violation as well: There is long legal precedence in the United States in favor of donor intentions.

Picking the Cultural Trust pocket, even in times of extraordinary fiscal crisis, is foolish in the long run in three ways.

First, once burned, twice shy. Why would anyone donate to the Trust again once it’s been made clear that the state can and will take the money and use it for something else? That precedent surely will strangle the Trust and cripple or even kill it.

Second, this can’t be legal. If the Legislature ends up appropriating this $2 million-odd for other purposes, it almost certainly will be slapped with a lawsuit. And how much will it cost for the state to defend a suit it will probably lose?

Third, who you gonna trust? Not the Legislature, which has broken its word. Not the governor, who says it’s OK. The erosion of public trust in government is a problem with serious consequences for democracy — as trust goes down, more and more people simply tune out, choosing not to take part in the political process at all. For government, trust — even trust shaded with skepticism — is vital. Break it and you’ve broken yourself.

For some background on the beginnings of the Oregon Cultural Trust, on how we got to this point, and on how frustratingly familiar today’s “news” sounds, read on:

Continue reading In the Oregon Legislature, a matter of broken Trust

Salem swings the ax: Arts heads on the chopping block

Fresh on the heels of this afternoon’s news that the Oregon Historical Society is shutting down its research library comes this report from the Oregon Cultural Advocacy Coalition that the Oregon Legislature has targeted OHS for an additional $350,000 cut — and that’s just the tip of the iceberg for slashes in arts and cultural funding as the Legislature tries to make sense of the economic crisis.

150-cake_1Things are looking bad, folks. Most egregious is the Legislature’s attempt to liberate $1.8 million from the permanent fund of the Oregon Cultural Trust — vital money that Oregon citizens contributed specifically for that purpose, and, as the Cultural Advocacy Coalition notes, a violation of those citizens’ trust.

Time to pitch in with your two cents’ worth, or you won’t have two cents to pitch.

Here’s this evening’s report from the Cultural Advocacy Coalition. Happy 150th birthday, Oregon. Here’s hoping we make it to 151:

Help Preserve Oregon Arts, Culture, and Humanities Funding

Take Action!
Read and Take Action Today

The Cultural Advocacy Coalition representing Oregon’s 1,200 cultural non-profits in Salem is closely monitoring budget and legislative developments in Salem.

If you read the newspaper and listen to broadcast media, you know that Oregon is facing one of the most significant budget shortfalls in its history. The State issued its revenue forecast on Friday. Revenue projections are now an additional $55 million over the previously announced shortfall of $800 million in the State’s General Fund. Lottery revenues are also down.

Legislators issued a “cut list” last week.
It contains proposed reductions and fund sweeps for all agencies to re-balance the 2007- 09 budget, assuming an $800 million hole. This represents a serious threat to state funding for culture.

In this proposal are the following reductions in current year spending:

$211,384 cut to the Oregon Arts Commission
$350,000 cut to the Oregon Historical Society
$ 64,085 cut in lottery funds to the Office of Film and Television

Finally, and most sobering: the “funds sweep” list of Other Funds includes the recapture of $1.8 million from the permanent fund of the Oregon Cultural Trust. The $1.8 million includes $1.3 million in cultural license plate revenue generated since 2003 – plus interest.

The Cultural Trust was authorized by the Legislature in 1999 – ten years ago – to grow and stabilize funding for culture – in good times and in bad. To skim the Trust fund and re-allocate cultural license plate fees for the General Fund is a violation of trust with the buyers of the plates who assumed they were supporting Oregon culture with their purchases. To raid the fund to pay for other state services simply violates the very purpose of the Trust and the intent of the Trust’s thousands of donors: to protect and invest in Oregon’s cultural resources.

This situation is very serious. Not only are legislators dealing with a large revenue shortfall and the potential of an additional $55 million in cuts, there are efforts under way to hold k-12 school funding from further reductions.

Take Action Now.

Use the Cultural Advocacy Coalition’s website to send a message directly to your legislators. You can use one of the messages on the website – or write your own message to convey the importance of cultural funding in your city, town or county and why the Oregon Cultural Trust needs to be remain intact and taken off the fund sweep
list.

Work to re-balance the state budget is proceeding very quickly and may be completed by this weekend. Weigh in with your opinion. Click here to send a message to your legislators NOW.