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PDF/ Jackson.Pdf 21 Notes Prologue 1. Ann Markusen, “Urban Development and the Politics of the Creative Class,” Environment and Planning 38: 1928. 2. Memory’s Caretaker, Text and Performance Quarterly 24.2 (2002): 161–181. The Great Chittlin Debate, with Kitty Williams, in Jump-Start Playworks (San Antonio: Wings Press, 2004), 165–190. Quinceañera, with Alberto Antonio “Beto” Araiza, Michael Marinez and Danny Bolero Zaldivar, in The Color of Theater, ed., Roberta Uno and Luci Mae Sao Paolo Burns (London: Continuum, 2002), 261–302. 3. Chris Williams, “Group Says Arts Cut Actually Targeted Gays,” San Antonio Express-News, September 19, 1997; David Anthony Richelieu, “Council’s Art Attack Echoes with History,” ibid, September 21, 1997; Susan Yerkes, “First They Rob Peter—Now They Mug Paul,” ibid, August 29, 1997. In a move that would resonate with the general tone of the culture wars, press accounts at the time followed the councilman’s extra-marital affairs, particularly his attempts to be recognized as the father of a child by a woman who was not his now former wife. Despite the fact that the politician had risen to promi- nence as an aide to former Mayor Henry Cisneros, a liberal, my colleagues and I often read his attacks as an attempt to shore up a conservative base. We relied on this notion to explain the number of self-identified Christian counterprotestors at “citizens to be heard” meetings, yet the Esperanza trial would bring out a stronger divide in the city. See Chris Anderson and Travis E. Poling, “Marbut Is in Dispute over Visitation Rights,” ibid, March 15, 1998; Rick Casey, “Beyond Weakness: The Marbut Affair,” ibid, September 26, 1999. 4. In an essay posted online, Esperanza Center lead attorney, Amy Kastely, describes the ruling’s significance for marginalized communities and its rela- tionship to the Supreme Court’s ruling on The National Endowment for the Arts et al. v. Finley et al. in 1996. See “Our Chosen Path: Esperanza vs. The City of San Antonio,” Esperanza Peace & Justice Center, September 16, 2013, http:// www.esperanzacenter.org/cityofsatodos_fs.htm. 5. Sara Jarrett, “Dancers Working: Mile-High Majesty,” Pointe, May 2001, 28. The partnership of the two companies was not unprecedented. As early as 1983, the Cincinnati Ballet and the New Orleans ballet formed a “sister city” alliance. Jack Anderson, “David Mcclain, 51, Cincinnati Ballet Director,” The New York Times, December 16, 1984. http://www.nytimes.com/1984/12/16/ obituaries/david-mclain-51-cincinnati-ballet-s-director.html. 6. I use the term altruism here because altruism and its discontents provide an excellent pivot from which to understand fundamental issues facing the artists in the United States. Robert Trivers’ (1971) notion of “recip- rocal altruism” (aka “tit for tat”) explains how individuals respond in kind 147 148 Notes to perceived and real acts of kindness. Robert Trivers, Natural Selection and Social Theory: Selected Papers of Robert Trivers (Oxford: Oxford University Press, 2002). 7. Cost disease explains how the successful growth of arts organizations causes them to expand beyond their capacity to sustain the organization. William J. Baumol and William G. Bowen, Performing Arts, the Economic Dilemma: A Study of Problems Common to Theater, Opera, Music, and Dance (New York: Twentieth Century Fund, 1966); Gregory Besharov, “The Outbreak of the Cost Disease: Baumol and Bowen’s Founding of Cultural Economics” History of Political Economy 37.3 (2005). 1 Introduction: Performing Policy 1. Steven J. Tepper and Stephanie Hinton, “The Measure of Meetings: Forums, Deliberations, and Cultural Policy,” Working Paper 27 (Princeton, NJ: Princeton University Center for Arts and Cultural Policy Studies, 2003), 3. Emphases original. 2. Maria Rosario Jackson, “The Artist and their Publics in Cross-Sectoral Projects— Lessons Learned and Future Questions.” Keynote Address, Leadership in the Arts Summit,” University of Houston, April 5, 2014. 3. Roberto Bedoya, U.S. Cultural Policy: Its Politics of Participation, Its Creative Potential (New Orleans: The National Performance Network, 2004). Holly Sidford, Fusing Arts, Culture, and Social Change (Washington, DC: National Commitee for Responsible Philanthropy, 2011). Maria Rosario Jackson, Developing Artist-Driven Spaces in Marginalized Communities: Reflections and Implications for the Field (Washington, DC: Urban Institute, 2012). 4. J. L. Austin, How to Do Things with Words, 2nd ed. (Cambridge, MA: Harvard University Press, 1975), 6. 5. Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003), 12. 6. These categories, more expansively defined as “writers; visual artists (including filmmakers and photographers); musicians; and performing artists (including actors, directors, choreographers, dancers),” represent four subgroups defined under US Census Bureau of Labor Statistics Codes. Ann Markusen, “Urban Development and the Politics of a Creative Class: Evidence from a Study of Artists,” Environment and Planning 38 (2006): 1925. 7. Jackson, Developing Artist Driven Spaces in Artist-Driven Communities, 2. 8. Writes Bhabha: “The language of critique is effective not because it keeps forever separate the terms of the master and the slave, the mercantilist and the Marxist, but to the extent to which it overcomes the given grounds of opposition and opens up a space of translation: a place of hybridity, figu- ratively speaking, where the construction of a political object that is new, neither the one nor the other, properly alienates our political expectations, and changes, as it must, the very forms of our recognition of the moment of politics.” See Homi K. Bhabha, The Location of Culture (New York: Routledge, 1994), 37. Emphasis mine. 9. Michael Hardt and Antonio Negri, Empire (Cambridge and London: Harvard University Press, 2000), 145. Notes 149 10. Holly Sidford, Laura Lewis Mandeles, and Alan Rapp, Cornerstones (New York: Leveraging Investments in Creativity, 2013), 34–35. See also http:// www.paifoundation.org. See also Maria Rosario Jackson, Building Community: Making Space for Art (Washington, DC: Urban Institute, 2011), 9. 11. In deference to his project, I wish to point out that Garcia Canclini’s book more directly addresses the circumstances in Latin America “to develop a more plausible interpretation of the contradictions and the failures of our modernization”; however, I would argue his greater project relates directly to the circumstances faced by US artists as cultural practitioners. See Hybrid Cultures, trans. Christopher L. Chiappari and Silvia Lopez (Minneapolis and London: University of Minnesota Press, 1995), 2–3. 12. John Kreidler, “Leverage Lost: Evolution in the Non-profit Arts Ecosystem,” in The Politics of Culture: Policy Perspectives for Individuals, Institutions, and Communities, ed. Gigi Bradford, Michael Gary, and Glenn Wallach (New York: New Press, 2000), 147–168. 13. See Carl Grodach and Michael Seman, “The Cultural Economy in Recession: Examining the US Experience,” Cities 33 (2012): 13. 14. Wally Cardona, “Success in 10 Minutes or Less: Reflections on Life and Work as a Contemporary Artist,” Dance from the Campus to the Real World (and Back Again): A Resource Guide for Artists, Faculty, and Students, 128–131. Ed. Suz<shapeText></shapeText>anne Callahan. Washington, DC: Dance/USA, 2005, 130–131. 15. See Ann Markusen et al., Crossover: How Artists Build Careers across Commercial, Non-profit and Community Work (Minneapolis: Humphrey Institute of Public Affairs, University of Minnesota, 2006), 11–20. 16. Essig, Linda. “Not about the Benjamins: Arts Entrepreneurship in Research, Education, and Practice.” Keynote Address, Arts Business Research Symposium, University of Wisconsin-Madison, WI, March 13, 2014. Essig’s text can be found on her blog, “Creative Infrastructure.” http://creativeinfrastructure. org/2014/03/19/the-ouroboros-last-good-business-practices-and-the-arts/ 17. Essig also resists this dichotomy by arguing that artists who show good prac- tices may do so to support the social and cultural goals of their project as much as the economically prosperous ends. Ibid. See also Paul Bonin-Rodriguez, “What’s in a Name? Typifying Artist Entrepreneurship in Community-Based Training,” Artivate: A Journal of Entrepreneurship in the Arts, 1.1 (2012), http:// www.artivate.org/?p=115 18. For an assessment of the unique role artists play as cultural entrepreneurs, as well as the challenges they face, see Ann Markusen, “How Cities Can Nurture Cultural Entrepreneurs,” Policy brief for the Ewing Marion Kauffman Foundation, Mayor’s Conference on Entrepreneurship, Kansas City, MO, November 20, 2013. Accessed April 12, 2013, http://www.kauffman.org/what- we-do/research/2013/11/how-cities-can-nurture-cultural-entrepreneurs 19. “The Artist as Public Intellectual,” in The Politics of Culture: Policy Perspectives for Individuals, Institutions, and Communities, 240–241. See also Caron Atlas, “How Arts and Culture Can Advance a Neighborhood-Centered Progressive Agenda,” in Toward a 21st Century for All: Progressive Policies for New York City in 2013 and Beyond (New York: Arts & Democracy Project). Accessed May 1, 2014, http://21c4all.org/culture 150 Notes 20. Jackson, Building Community, Making Space for Art, 6. See also Maria Rosario Jackson, “Revisiting the Themes from the ‘Investing in Creativity’ Study: Support for Artists Pursuing Hybrid Work,” in Workforce Forum (Washington, DC: NEA, 2009), http://www.nea.gov/research/Workforce-Forum/PDF/
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