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Peer Sessions: Public Service/Government Agencies
Moderator: Fran Redmon, Kentucky Craft Program
June 2, 2006
1.
Uncertainty is a challenge. When dealing with
government agencies or public support, the
responsibility for “arts and crafts” is often shifted
between government agencies – for example, tourism,
education or economic development. States have
different and often changing structures providing
varying amounts of funding. What is set up by one
administration may be abandoned by the next. In 1985,
Governor Thompson of Illinois created a well funded
artisan program with no mission statement, just his
ability to sign checks. Even in this enviable
situation, it is necessary to look for other resources
to fill in when the angel goes away.
2.
Another challenge is finding resources that already
exist. A registry of artists is available in some
states. A database of ways to organize new programs is
valuable to start-up organizations so they can cherry-
pick ideas applicable to their needs Identification of
other possible groups with which to cooperate is
helpful. In North Carolina there is a council in each
county with representatives from diverse cultural assets
(crafts, historic, musical). They look for projects
that can be developed into regional programs or events
that are more likely to qualify for state funding than
are strictly local proposals. In Kentucky, the markets
that were created to wholesale local crafts to more
appreciative out-of-state audiences stirred up an
interest among the in-state public. Business skills and
marketing know-how courses are valuable to the
artisans.
3.
Pilot programs are an important way to get something
off the ground – some people need to see that an idea is
beneficial to others before they will join. Enlist
willing participants in the pilot program as guinea
pigs, use their feed-back and others will be attracted
if the project is successful. Oregon Crafted started
with a as a four-county publication model and now many
more counties want to participate. The challenge is to
transition between “pilot program” -- often funded
because it is a sexy new trend-- and into permanent
funding. If an organization can show that they are an
economic asset, this will be an aid when lobbying the
Legislators for recognition and funding.
4.
Communities that want economic development often
only consider something imported – a factory or a
bio-tech industry. The challenge is to convince people
that their own art/craft/historic resources are a viable
way to brand their community. “Market your otherness”.
Eureka Springs (Arkansas) followed this model and is
successful. Look for properties that can be developed
into arts centers/studios. This model may start with an
artist-in-residence program of a craft school.
Graduates of the school may locate in that region and
form an economic force. Highway 23 -- Music Highway in
Kentucky – many different community groups created a
driving tour which markets music, attractions and
museums.
5.
Success has its own challenges. Growing too
quickly may not guarantee success. It may be better to
address a single need, be successful at that, and then
grow from there, building infrastructure and expanding
slowly. If everyone wants to join a successful new
program, there is a danger of losing the original focus.
If, for example, a local and popular craft outlet starts
hosting performances, selling books and food, the
original purpose may be diluted.
June 3,
2006
In
order to create a successful public service/government
agency that builds the economy while helping artists
solve their challenges with production and marketing,
there are a number of necessary processes.
Identify what resources exist and who is already doing
something that could be used as a model.
CODA is a good place to learn how other states handle
challenges.
A CODA-like organization on a state level would be
helpful.
Get the
artists and craftspeople together to share successes and
identify problems. In large states or those with difficult geography,
getting people together physically is often not
possible. In Alaska the Community and Native Arts
Program provides toll-free teleconferences.
Constituents set the agenda and give reports from the
field, share job information, give technical assistance.
This telephone link provides a regular and consistent
source of information for a widely dispersed
population. Getting the artists to talk to each other
in any format is a breakthrough. One goal is to make
them see each other, not as competition, but as partners
in growing the field. In Oregon a group of artisans
connected by Oregon Crafted started talking and ended up
forming a small art walk. When creating a database of
artists, the NEA codes are helpful in defining an
artist.
Teach
the artists to use the appropriate business technology. Some artists are resistant to computer technology or it is
not available to them. Public agencies need to stress
that access to the web is a business decision that may
make the difference between success and failure. An
agency can provide tools and training, but the artist is
ultimately responsible for adapting to the modern
marketplace. Hone in on the willing ones, get them
together and use them as an example. Let the
technologically successful ones train others. To stress
the importance of using a computer in business, several
states take applications for grants or markets only on
line. Even if an individual does not own the technology,
the resources of schools and libraries in their
community can be used. Students often help
computer-challenged adults. To facilitate use of
photography technology, Alaska sends a “Studio in a Box”
to native artists. This includes a camera, a back drop,
a tripod and slide casings to those who need photos for
juried shows applications or for marketing purposes. In
addition, Alaska has published a crafts marketing
handbook for Native Americans. In Texas, photographers
help artists at orientations. The Kentucky Craft
Marketing Program goes out into the field to train
craftspeople – a “Pre-Jury” session to prepare
interested artisans for the jury and program
activities. Staff councils them on their art, suggests
changes to improve the product and its marketing. This
pre-jury effort raises the quality of the crafts coming
to be juried. Peer advisory programs send artists to
studios for on-site mentoring.
Often
Federal programs provide training. In Alaska the
Veterans Work Programs provide workshops for the poor
and homeless and teach power tool skills to veterans who
want to build traditional crafts. Substance Abuse
Programs have training, as does Social Security
Disability. Consignment sales are another outlet for
artists, and training in the required contracts is
valuable. The standard craft consignment software is
ATREX.
Teach
the artists and the retailers/wholesalers to clearly
understand each others needs.
In Alaska the native artists who don’t just do direct
marketing (from their home) need training to understand
the needs of the retail seller. Although native artists
are often involved in subsistence hunting, fishing and
gathering that cause them to be “out of the studio” for
long periods, they have to cooperate with the retail
vendors, need a consistent supply of product and
definite delivery dates. Native artisans also have to
be aware of the markup that will be added to the price
of their product. In promoting craft as tourism,
retailers are equal partners. They benefit from training
as well, and are appreciative since small businesses
often have a hard time getting support. Kentucky does
awards, a newsletter, and workshops for retailers. In
addition, artists have to partner with retailers to get
a product development grant. Training gets these
retailers together, talking to each other and seeing
each others shops. In North Carolina a private message
board only available to craft shops provides a hub of
communication. New York has had a success with sending
out an e-mail newsletter to 14 counties which is full of
info on openings, closings, shows. Nadia Korths
collects information on SBA workshops and brokers it out
to artists as well as doing on site workshops herself.
Texas holds best practices meeting and workshops for
artists that include the nuts and bolts – hands-on
practical business forms. Extension agents are trained
via video-conference.
Build
trust that you are a “go to” organization.
As an agency it is important to explain what you can’t
do – Refer artists to other people or organizations who
can offer help. Being consistently available with a
wide range of information builds trust, but implying you
can do things you can’t destroys that trust. To
overcome inter-agency (governmental) rivalry, often the
“underlings” create links that the directors will not.
Find the willing players who will exchange lists and
information. It will make your agency more beneficial
if you can demonstrate cooperation on your level as
well.
Find a
way to measure success of the program.
Quantifying success is important to the future of
agencies depending on government funding. Success can
be measured as an increase in sales and/or visits by
individual artists or by retailers. It can be the
creation of vibrant community centers. Success also
means an agency not becoming a permanent crutch – the
goal is to train the artists and retailers to be
successful on their own.
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