ARTS AND SOCIAL JUSTICE

STAYING RESILIENT IN CHALLENGING TIMES

Survey Design by the Report Findings by

Irini Neofotistos, Senior Program Officer, Union Square Awards

Amanda Warco, Research Intern, Union Square Awards

About SJAC:

The Social Justice Artists’ Collaborative (SJAC) was launched in 2010 as a

passionate call out for a grassroots network dedicated to building the power

and sustainability of individual artists, small to mid-size arts organizations

based in New York City, and creative communities invested in change.

SJAC is now a growing progressive collective of people and organizations

that comes together to learn, share, dialogue, connect, and evolve the

capacities of arts and cultural practitioners to thrive on our own terms.

Our goals are to:

• Build community among arts organizations and artists engaged in social

justice;

• Strategize around challenges and explore long-term solutions;

• Create new sustainability models;

• Offer platforms and venues for sharing best practices and innovations; &

• Foster new partnerships and creative fusions.

About the survey:

To learn what issues are affecting us most as a community, SJAC

recently conducted a survey of artists and arts organizations across

the City. This report shares what we found.

This survey was released by the SJAC and received 157 responses

between October 11 and 31, 2012.

Outreach was done by SJAC work group members who shared it with

others through social media, the SJAC outreach email list, and their

networks.

KEY FINDINGS

Bridging Arts and Social Justice

Arts and social justice work raises visibility, gives voice and creates engagement and interaction.

Important to those doing this work is uniting communities, empowering individuals, developing opportunities to create and express, and providing access to the arts.

Resources and Networks

Being connected to others with similar values is important. A vast majority confirm they are connected to others that share their values.

While most respondents have the tools needed to be effective and know where to turn to for needed resources, a significant number do not have a support network they can rely on.

KEY FINDINGS

Financial Resources

Respondents found skills or resource sharing, individual donor engagement and grassroots fundraising to be effective sustainability approaches.

70% of respondents have accessed grants to support their work. Of those, half report they no longer have access to resources they have relied on in the past.

Top 4 Challenges

Accessing Financial Resources

Reliable Support Networks

Time and Capacity

Framing and Promoting Work

THE RESULTS

0%

10%

20%

30%

40%

50%

60%

70%

80%

artist arts administrator

other service provider funder

HOW DO YOU IDENTIFY YOURSELF WITHIN THE

ARTS AND SOCIAL JUSTICE COMMUNITY?

32% of respondents

chose more than one

response

157 responses

HOW DO YOU IDENTIFY YOURSELF WITHIN THE

ARTS AND SOCIAL JUSTICE COMMUNITY?

0

1

2

3

4

5

6

7

8

9

activist organizer educator

Other Identities

PLEASE INDICATE YOUR ARTISTIC DISCIPLINE:

46% of respondents

chose more than

one response

0%

2%

4%

6%

Multi-Disciplinary Poetry

Other Disciplines

0%

10%

20%

30%

40%

50%

60%

Visual Arts Media/New media

Theater Literature/Creative writing

Conceptual/Performance

Art

Music Dance Other

157 responses

WHICH OF THE FOLLOWING TERMS DO YOU

MOST IDENTIFY WITH YOUR PRACTICE, IF ANY?

I.E., YOU WOULD FEEL COMFORTABLE USING

THEM TO DESCRIBE YOUR PRACTICE.

Social Change

Community Arts

Social Justice

Public Art

Social Practice

Other

-10%

-14%

-5%

-7%

-3%

12%

76%

79%

85%

89%

93%

-0.2 0 0.2 0.4 0.6 0.8 1

Disagree Agree

130 responses

I USE MY PRACTICE AS A WAY OF CREATING:

Mostly Agree:

The top two areas of agreement are that respondents use their practice as a

way of community building and responses to social issues.

0%

20%

40%

60%

80%

100%

Community Building

Responses to Social Issues

A Broader Definition of

the Arts

Civic Engagement

Call to Action

Beauty Visibility for Myself and

Others

Agree Somewhat Disagree

130 responses

Healing

Outreach Tools

Political Expression

Organizing Tools

Training Opportunities

Political Education

Political Engagement

Rehabilitative Tools

Other

I USE MY PRACTICE AS A WAY OF CREATING:

Split Opinion:

Political Education, Political Engagement and Rehabilitative Tools were the most

contested terms with larger numbers of respondents choosing “Somewhat Agree” or

“Disagree.”

“Other” responses included conversations, dialogue, attention, connection, and

expression.

-4%

-34%

-24%

-25%

-25%

-24%

-24%

-16%

-14%

12%

56%

68%

69%

68%

68%

70%

80%

88%

-40% -20% 0% 20% 40% 60% 80% 100%

Disagree Agree

130 responses

I USE MY ART AS A WAY OF CREATING OR

SERVING:

PLEASE ELABORATE ON YOUR CHOICES ABOVE OR

SHARE OTHER LANGUAGE YOU USE TO

CHARACTERIZE EITHER YOUR WORK OR PRACTICE.

“Our mission is to celebrate our culture through the arts and educate people about our diversity.

Cultural identity is very important to an individual formation in life. The arts can give people a great

motivation in other fields.”

“Feel that it is important to manage artist currently incarcerated, to help motivate and prepare them to

be self sufficient and come come to make legal money to support their families.”

Individual responses that were especially interesting, challenging or

representative:

“The choices seem to frame publicly presented/socially engaged work within a binary frame of either

"romantic" art practice that occurs in the public sphere (beauty, sublime, grandeur, ego, et al) v. the

social practice school. Both are problematic. I would like to see categories from another set of

questions, like the categories one would ask bankers or lawyers or deep sea divers.”

PLEASE ELABORATE ON YOUR CHOICES ABOVE OR

SHARE OTHER LANGUAGE YOU USE TO

CHARACTERIZE EITHER YOUR WORK OR PRACTICE.

“I prefer the concept of community engagement to outreach to reflect mutually beneficial

collaborations. I also think of my work as part of broader efforts to engage people in the decision

making that has in impact on their lives. And I think of my work as cross sector and holistic -

recognizing how culture is integrated throughout our communities.”

“Art responds to social, community, and personal issues but is also responsive to community and

individual needs. The practices and outlets created cultivate a more equitable and just

society, particularly where those resources do not otherwise exist. I have some resistance to the terms

healing, therapeutic or rehabilitative. As a conscious person, I feel responsible to name, connect, and

address what is not right in a way that is challenging, engages, and visions/creates something

new, effective, and just. That process by its nature creates personal and collective healing. Lastly, while

it is true that arts can create powerful tools for outreach, organizing, education, they are not a means to

an end. If the art is meant to produce those outcomes then some of its power is lost. Connection to

community and the process of creating or sharing in a collective way is critically important.”

DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR

IDENTIFY WITH.

African-American, 6

Latinos, 6

Asian, 3

People of Color, 11

Immigrants,4

Youth, 18

Seniors, 5

Women, 11

Artists, 15

LBGTQ, 13

DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR

IDENTIFY WITH.

Low-income/Underserved

Communities, 22

Other nonprofits, 2

Disabled, 2SurvivorsAbuse,

1

Local Neighborhoods, 1

3

Occupy Movement, 2

Homeless, 6

AIDS/HIV, 4

Incarcerated/ Families of

Incarcerated, 3

Educators, 2

International, 3

Specified Need or Issue Area

WHAT TYPES OF ORGANIZATIONS OR NETWORKS ARE YOU

CONNECTED TO WITHIN IN YOUR COMMUNITY?

Arts Councils

CBOs

Churches

Community Boards

Community Gardens

Elected Officials

Galleries

Grassroots Organizations

Libraries

Museums

Non-profits

Schools

Senior Centers

Social Service Agencies

Union Organizers

YMCAs

Types Included:

See Appendix A for list

of organizations cited.

BRIEFLY DESCRIBE YOUR WORK AND HOW IT BRIDGES ARTS

AND SOCIAL JUSTICE.

Main Theme #1: “To raise visibility and give a voice.”

Main Theme #2: “To create engagement and interaction.”

Other prevalent themes:

– uniting communities

– empowering individuals

– opportunities to create and express

– providing access to art.

See Appendix B for

clarifying quotes.

ARE THERE SHARED CHARACTERISTICS FOR THE WORK

THAT HAPPENS AT THE INTERSECTION OF ARTS AND

SOCIAL JUSTICE? IF SO, BRIEFLY DESCRIBE SOME

COMMONALITIES.

There was a wide range of answers to this question with similar

themes emerging as in the previous question, such as

• Creating a voice for the voiceless

• Offering new perspectives

• Bringing together people within and across communities

• Sparking conversations

• Creating respect, empathy and understanding

• Advocating for change

• Self determination and expression

• Tell a story

• Educate

RANGING FROM "OFTEN" TO "RARELY" PLEASE ANSWER

THE QUESTIONS BELOW:

It is important for people working at this intersection to connect with others sharing their

values. The vast majority of respondents report being connected to others that share their

values.

While most respondents report that they have the tools needed to be effective and they

know where to turn to for needed resources, a significant number report that they rarely

have a support network to rely on.

0%

20%

40%

60%

80%

100%

I am connected to others that

share my values

I have opportunities to

grow and develop

I have the tools needed to be

effective

I know where to turn to for needed

resources

I have a support network(s) that I

can rely on

Often Sometimes Rarely

84 responses

DESCRIBE OR LIST ANY ACTIVITIES THAT YOU UNDERTAKE

FOR YOUR OWN WELL-BEING OR SELF-CARE.

Time with Family and Friends

Exercise

Yoga

Prayer/Mediation

Reading/Writing

Connecting with like-minded

individuals

Eating well and making home

cooked meals.

Creating art.

“It is a constant struggle.”

HOW DO YOU SUPPORT YOUR PRACTICE IN TERMS OF

FINANCIAL RESOURCES?

0%

10%

20%

30%

40%

50%

60%

70%

80%

Grants Artist Fees/ Honoraria

Residencies to Develop Work

Sales/ Earned Income

DonorsConsultations and ServicesEmployment Related to Practice

Commissions Employment Unrelated to Practice

Other

Often/Sometimes Rarely

80 responses

ARE THERE FINANCIAL RESOURCES THAT ARE NO LONGER

AVAILABLE TO YOU?

51%

12% 12% 12%

0%

10%

20%

30%

40%

50%

60%

Foundation Support

Lost Job/Income

Government Grants

Individual Donors

51% of those responding to this question

reported losing foundation support.

41 responses

EFFECTIVENESS OF SUSTAINABILITY APPROACHES.

Most Effective:

• Skill or Resource Sharing – A third of respondents indicate this as

the most effective. 33% or respondents found it effective and 29%

found it somewhat effective.

• Individual Donor Engagement was found effective for 23% of

respondents and somewhat effective for about 40% or respondents.

• Grassroots Fundraising was found effective for 13% of respondents

and somewhat effective for 40%.

Under Utilized or With Mixed Reviews:

• Online Crowd Funding was reported to be the least used overall.

Only 4% of respondents found it effective, 25% found it somewhat

effective, and 17% found it not effective.

WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU

FACE THAT CURRENT NETWORKS ARE UNABLE TO

RESPOND TO?

1) Funding –

By far the most frequently mentioned challenge was sustainable financial

support. Many respondents mentioned not having health care as a

specific financial concern and several respondents spoke about the

burden of applying for grants and meeting their administrative

requirements. Several respondents spoke about the misunderstanding of

their work and the reluctance of artists and funders to get involved in

work with a political/social justice dimension.

2) Network/Community –

The second most frequently mentioned concern was a lack of a network

to turn to for advice, resource sharing and support.

WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU

FACE THAT CURRENT NETWORKS ARE UNABLE TO

RESPOND TO?

3) Lack of Time –

Several people mentioned not having adequate time and being

stretched too thin to accomplish all the necessary work.

4) Publicity/Promotion –

A number of respondents struggle with publicizing and promoting

their events especially when they often have to reframe their work

for various audiences.

Other:

Shared rehearsal and performance space and shared legal

assistance.

SJAC IS GROWING. WHAT CAN WE COUNT ON YOU FOR?

• 26 respondents said they would offer resources to the collaborative or

its participants including –• Leading workshops about food politics, environment, animal and people

communities, the politics of transportation or the politics of the built

environment, etc.

• Resources from Arts & Democracy and NOCD-NY - not financial, but

materials, approaches, workshops, and lessons learned

• Sharing information with social networks

• Collaborating on projects.

• Providing event/meeting space.

• 19 respondents could host future events

• 29 respondents are interested in joining the work group to further

shape the collaborative

• 54 are interested in participating in future networking opportunities

WORK GROUP MEMBERS

The organizations & individuals that have shaped the Social Justice Artists’ Collaborative are:

Clarla Eliana Godoy Languna - Art for Change

Charles Rice-Gonzalez & Arthur Aviles - Bronx Academy of Arts and Dance (BAAD!)

Erin Gleason - Crown Heights Film Festival

Meghan McDermott - Global Action Project (GAP)

Michael Primo - Hip-Hop Theater Festival

Shannon Brunette - Lambent Foundation

Kay Tekada & Prachi Pa - Lower Manhattan Cultural Council (LMCC)

Jessica Green - Maysles Institute

Sandra Garcia-Betancourt - Northern Manhattan Arts Alliance (NoMAA)

Karen Demavivas - NYFA Immigrant Artist Project

Kemi Illesanmi, Petrushka Basin, Rise Wilson - The Laundromat Project

Irini Neofotistos & Iris Morales - Union Square Awards

Beatriz Gil, Leenda Bonilla, Carlos Martinez, Elizabeth Hamby, & Hatuey Ramos Fermin Individual Artists

APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR

NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR

COMMUNITY?

50/50 in 2020

ACNY

Actors Equity Association

Astraea Foundation

Barnard College

Bella Abzug Leadership Institute

Betty Shabazz Center

BRIC

Broadway Housing Communities

Bronx AIDS Services

Bronx Artisan's Initiative

Bronx Arts Group

Bronx Council on the Arts

Bronx Economic Development

Bronx Non Profit Coalition

Bronx Price

Brooklyn Food Conference

Brooklyn Friends

Campaign to End the Death Penalty

Catskills Heritage Alliance

Center for Urban Pedagogy

Choral Consortium of NYC

Columbia University

Community Services Society

Cooper Union

District Committee for Participatory Budgeting

Diversity Council at Kean University

Doors Youth

Ecology Station Brooklyn

Eldert Street Community Garden

Feminist Press

Flomenhaft Gallery

Fresh Ground Pepper

Gay Men's Chorus

Greenlight District El Puente

Groundswell Community Mural

Harlem Arts Alliance

Hendricks Martin Institute

HERE Arts Center

Hispanic AIDS Forum

Humans Rights Association

Independent School Diversity Network

INSPIRIT

Jewish Genealogy Society

Slide 1 of 2

APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR

NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR

COMMUNITY?

Jewish Voice for Peace

Justseeds

La Union

Lavender Light

Leslie Lohman Museum of

Gay Contemporary Art

LIC Artists

Longwood Arts Gallery

Make the Road

Man Up Campaign

Men Can Stop Rape

Mental Health Association of New Jersey

Metropolitan Community Church

Morris Jumel Mansion

Motel Room Studios

Mothers on the Move

Mountain Keepers

Mural Arts

National Council for Research on Women

National Organization for

Men Against Sexism

New Brooklyn Theater

New York Foundation for the Arts

NOCD-NY

NOMAA

Northern Manhattan Coalition for

Immigrant Rights

Odyssey House

On the Issues Magazine

Park Slope Food Coop

People's Institute for Survival

and Beyond

Pepatian

Pergones Theater

Pipeline Theater Company

Queer Urban Orchestra

SAG-AFTRA

SAGE

Social Justice High School

Bushwick Campus

Start Small Think Big

Studio 889

The DreamYard Project

The Feminist Art Project

The House of Spoof Collective

The LGBT Center

The New Jim Crow

The Point CDC

The Tank

Third Wave Foundation

United Palace for Cultural

Arts

Voice Male Magazine

West End Collegiate Church

West Village Society for

Historic Preservation

Women of Color Policy

Network

Women's Enews

Word Up Bookstore

WOW Café Theater

Slide 2 of 2

APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT

BRIDGES ARTS AND SOCIAL JUSTICE.

“Working as an art therapist with under represented persons allows for communities

to be heard. Themes for the artwork includes communities perceptions (how they are

being seen and how they want to be seen) and advocacy. We exhibit artwork in the

community (e.g., pop up galleries, court buildings, and small shows amongst peers)

as a way to practice sharing their knowledge with others.”

“With each of our free programs, we strive to offer safe and creative platform for our

community members to share their voice and struggles. As a community, they now have

a space where they can share with the world their own stories through the creation of

original social justice theatre that brings focus and attention to issues they are affected

by.”

“Work with "At-Risk-Young People" using art to build a connection between them and

their community. Created intergenerational art programs where young people and

elders work together to create an art project, in a effort to close the gap between the

generations, so that they can talk to each other. Once they can hear and share what

the other's needs are, we can begin to work towards removing the social illnesses

running through our communities.”

Slide 1 of 2

APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT

BRIDGES ARTS AND SOCIAL JUSTICE.

“We give educators tools to engage in conversations about race with their students in

kindergarten through fifth grade. We use role-play to allow the participants to practice

what they would say if they were in certain real-life scenarios.”

“The location and time of my media/performances is intended to intersect with

demographics that may be at that location at that time; I find people who might not be

culture vultures to be a more interesting viewer than the galleristas.”

“Social Practice, is the utilization of an artist's art form welded with an intellectual, research and

experiment based production which seeks to make work that is relevant in the social realm.

Historically, I have vehemently asserted that artists need to regain their position at the forefront of

social, critical, and technological innovation, right alongside scientists and academics. I feel it is

critically important to reinvest our intellectual practice within the art realm, in order to dovetail the

innovation that art allows with the critically important aspects of the scientific and academic realms.

Without the innovation possible within the art mindset, science can be stifled by restrictive academic

dogma. Without the intellectual heft of science and academic importance, I feel art can be doomed to

social irrelevance. In this critical time in world history, without a concerted effort to unite innovators

across disciplines, I feel the incredibly complex issues and problems we are facing as a nation, as a

people, and as a planet will not be adequately addressed or properly and comprehensively solved.”

Slide 2 of 2