Image: Alyson Amato, co-founder of Carolina Dance Collaborative, leads an after-school dance class last week at Chandler Creek Elementary in Greer.
This weekend, Greenville will proudly display its commitment to the arts.
The 13th annual Artisphere festival opens Friday, and for three days, the streets of downtown will overflow with rich color and the sounds of music and the aroma of lamb burgers and caramel popcorn.
Last year, Artisphere had an economic impact of $6.4 million, as 100,000 visitors packed the streets, purchasing original art, checking out the local merchants, sampling the cuisine.
But, what would the festival look like if it didn’t receive funding from the South Carolina Arts Commission?
Kerry Murphy, the festival’s executive director, said putting on the festival would be a lot tougher without a $21,000 general operating support grant from SCAC, which in turn receives a large portion of its funding from the National Endowment for the Arts.
The NEA has been under fire this year, as President Donald Trump’s proposed budget would have eliminated the NEA, as well as the National Endowment for the Humanities and the Corporation for Public Broadcasting. Those agencies were spared by the House Appropriation Committee’s appropriations bill for the 2017 fiscal year, which actually increased NEA and NEH funding.
Across the Upstate, arts grants make a difference. At Chandler Creek Elementary School in Greer one recent afternoon, students showed off the jazz and African dance moves they spent the previous six weeks mastering in an after-school program operated by Communities in Schools through the 21st Century Community Learning Centers.
At the South Carolina Governor’s School for the Arts and Humanities, teachers have the chance to attend workshops and other professional development opportunities, and they share that knowledge with other teachers, as well as the students The Greenville Symphony Orchestra targets elementary and middle school students with its educational outreach programs, and Warehouse Theatre takes Shakespeare to middle and high schools around the Carolinas, in a program that offers a mini-course in the Bard, complete with a live production of one of his plays.
It may be easy to take for granted that Greenville’s local theaters will continue to stage productions each year, that festivals will brighten the streets of downtown, that students can learn painting and music and creative writing in school.
But all of those programs require funding, in most cases more money than an arts entity can generate on its own, said Mike Sablone, producing artistic director for Warehouse Theatre.
“All of that funding is incredibly important to every aspect of the theater,” Sablone said. “We’re a non-profit. We rely on ticket sales, we rely on donations, we rely on grants. And all those allow us to do the work that we do. And without that money, we’d have to take a harder look at how we produce, what we produce, and the quality that we’ve come to expect with a Warehouse Theatre production.”
Greenville is blessed to have a vibrant arts scene, one that contributes to the city’s overall popularity as a place to visit and as a place where people are moving, said Dr. Braxton Ballew, education director for Greenville Symphony Orchestra.
“We’ve got a tremendous arts community here, and I think it’s no accident that you see Greenville on these top 10 best places to live, top 10 places to retire (lists), all the accolades that we get, and we just happen to have this great arts community here, that’s not a coincidence,” Ballew said. “It cannot be understated what a big part the Arts Commission is to that success.”
Learning new things
The Chandler Creek dance program offers third- through fifth-graders at the Title I school a chance to learn dances that they might not otherwise have an opportunity to practice, said Alyson Amato, co-founder and director of education for Carolina Dance Collaborative.
For six weeks, Amato and Kelsey Crum, Carolina Dance Collaborative’s other co-founder, taught the students the moves for three dances, and on the seventh week, they demonstrated their new skills for parents and friends.
They rolled their arms, snapped their fingers, did the “smush the bug” step, showed off their best jazz hands, and performed a celebratory African dance called yankadi, to songs like the Jackson 5’s “I Want You Back” and “Blackbird” from the Broadway show “Fosse.”
The program isn’t just a chance to have fun, Amato said.
“The process of learning something, practicing it and then performing it is a massive self-esteem booster,” Amato said. “Seeing how they work hard at something, they can achieve in just six weeks. And also, having fun doing it at the same time. It’s also a way to really enhance what they get in their physical education during school time. Because you will see, we sweat. … But I really do want them to get their heart rate up, also their minds to be challenged.”
The 21st Century Community Learning Centers funding includes enrichment opportunities such as the dance program. Without that funding, the program might be merely homework-based, or it might be cut entirely, Amato said.
More than entertainment
A community’s support of the arts means more in the long run than an evening of entertainment at the theater or the ballet, said Julie Allen, vice president of arts and academics at South Carolina Governor’s School for the Arts and Humanities.
“Many people see arts-based funding as something which is nice,” Allen said. “It’s something that a community does when it’s nice, when there’s extra money. But I think when you delve a little bit deeper into that, you recognize that the arts, while there certainly is an aesthetic value, and there’s an intrinsic human value, there’s also a real economic value. The arts are a significant part of South Carolina’s economy; they’re an incredible part of Greenville’s economy. And so I do think anything we can do to help people see the arts as an intrinsic part of a vibrant economy is really important.”
But even beyond that, a talent and affinity for the arts can go a long way toward helping a teenager find his or her voice, a purpose in life, a profession.
“Particularly for arts students, who often see themselves as perhaps a little bit different than their typical peer, this is a place that they feel is home,” Allen said. “It’s a place they feel safe, it’s a place they’re willing to take risks. And a lot of students do come back talk about (how) ‘I found my voice here because it gave me the confidence to continue to grow and figure out who I was.’”
Dozens of grants
For the 2017 fiscal year, the South Carolina Arts Commission awarded 28 grants totaling more than $400,000 to Greenville County organizations and individuals. Those grants ranged from $625 to Foothills Philharmonic Orchestra for general operating support, to $2,057 for Sweet Adelines International Greenville in Harmony for operating support for small organizations, to general operating support grants of more than $25,000 each to the Peace Center Foundation, Greenville Symphony Association, and South Carolina Arts Alliance.
Warehouse Theatre receives funding from South Carolina Arts Commission, as well as a direct NEA grant for the Shakespeare program, now in its third year.
Shakespeare in American Communities, a national program of the National Endowment for the Arts in partnership with Arts Midwest, offers a $25,000 matching grant, and Warehouse must raise an equal amount of money through corporate sponsorships and other donations.
The aim of the program is “to increase Shakespeare performance in different communities across the nation,” said Mallory Pellegrino, director of education for Warehouse Theatre. “We are one of the very few companies in the Southeast.”
Through the grant, Warehouse is able to present Shakespeare to middle- and high-school students in the Carolinas, using a company of six or seven actors who travel to schools and offer an introductory workshop on the play to be presented, as well as a follow-up class after students have seen the play.
If the grant money disappeared, Pellegrino said, the program wouldn’t necessarily disappear. It would, however, require substantial changes to the way it operates, perhaps by soliciting more local sponsorships and donors.
But the biggest change would to be make the program “revenue-driven,” Pellegrino said. “We would have to make sure that we had enough venues to be able to go out, that there were enough people interested in it. And you would begin to limit your reach and your impact.”
Making an impact
The Greenville Symphony Orchestra seeks to make much of its educational impact on elementary and middle school students.
This year, GSO received a $10,000 grant from the NEA to fund its free concert for middle-school band and strings students, said Linda Grandy, Greenville Symphony Orchestra development director.
In addition, the GSO received a general operating support grant of $25,391 from SCAC this year, which helps to fund other educational programs, including the concerts available to all of Greenville County’s elementary schools.
One important aspect of the GSO’s educational programs is the opportunity for students to see the symphony in concert at no charge, which is especiallyimportant for students at less-affluent schools, said the GSO’s Ballew.
Losing that funding would have an impact on several programs, including GSO partnerships with SC Children’s Theatre and Greenville County Library.
“Maybe we wouldn’t offer as many, or maybe we would start charging $5 at the door,” Ballew said.
Sharing the wealth
Education is, of course, the mission of the South Carolina Governor’s School for the Arts and Humanities, whose operational budget comes from the state. But continuing education is important to the teachers who share their knowledge and skills in visual arts, drama, creative writing and music.
And an SCAC grant for Arts in Basic Curriculum Advancement allows Governor’s School teachers to participate in continuing education programs that help both students and other teachers, Allen said.
When SCAC’s funding was increased two years ago, the commission passed on the increase, which allowed the Governor’s School to add a couple of components to its continuing education focus. One way was to share the knowledge, to offer professional development opportunities to teachers in other areas.
“We identified drama as an area where there seemed to be a real need for drama teachers in the state to have professional development experiences,” Allen said. “Typically, there’s one drama teacher in a school, maybe there’s two or three in a district. But to get content-level, really high-level training, those opportunities are often few and far between for them. So what we’ve been able to do is essentially share that wealth.
“For the last two years, we’ve brought a group of drama teachers here, we’ve let that group identify what their particular needs are, and the nice pairing there is the person that’s led those workshops for the last two years is someone who had elevated her own training by virtue of having taken advantage of the professional development funding earlier from the Arts Commission. So it was kind of a way of paying back what she had gained.”
Important source of funding
Artisphere depends on the SCAC funding for a large part of its budget; other revenue sources include vendor fees, corporate sponsorships, merchandise sales and other grants, Murphy said.
“That’s a very healthy mix, and is a huge part of why we’ve been able to grow the festival and its impact over the years,” Murphy said.
If the government grants were no longer available, Artisphere would survive, but other organizations might not be able to weather the loss, she said.
“We have spent a lot of time diversifying our funding model so that if we lose any single funder we can mitigate the loss of that funding, either through a focused effort to replace the money, or by trimming expenses here and there,” Murphy said. “That isn’t the case for smaller organizations, where SCAC funding could represent an entire marketing budget, or fees for artists for a performance.
“We think it is important to have public arts funding because it makes a statement about what we care about as a community.”
Alyson Amato, co-founder of Carolina Dance Collaborative, teaches an after-school dance class at Chandler Creek Elementary in Greer last week.
'Wings of the City' on display in San Antonio, Texas.[/caption]
Good morning!
"Tuning Up" is a morning post series where The Hub delivers curated, quick-hit arts stories of interest to readers. Sometimes there will be one story, sometimes there will be several. Get in tune now, and have a masterpiece of a day. And now, in no particular order...
Artist rendering of the renovated Wyche Pavilion.[/caption]
The South Carolina Arts Commission and the South Carolina Arts Foundation, in partnership with United Community Bank, the Peace Center, and Table 301, are working together to create a memorable evening of art, art experiences and music to celebrate 50 years of public and private support for the arts.
As senior vice president, global director of strategic partnerships at Christie’s, Lydia Fenet leads a global team forging significant collaborations with other luxury brands. Building on her 15-plus-year career at the historic auction house, Ms. Fenet pioneered the Strategic Partnerships program at Christie’s in 2010, leveraging skills sharpened both as special events director from 2004-2010 and during her time on Christie’s client advisory team. Under Ms. Fenet’s purview, innovative brand partnerships have grown into a valuable marketing and business development platform for Christie’s and its partners, producing dynamic co-branded initiatives worldwide. These initiatives include major exhibitions, special events, and targeted digital activations.
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Ms. Fenet graduated with a bachelor's degree in both art history and history from Sewanee - The University of the South. She currently resides in New York City with her husband and three children, Beatrice, Henry and Eloise.
