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The Cultural Lives of Californians: Insights from the California Survey of Arts and Cultural Participation

May 19, 2015

Over the past two decades, numerous reports indicate that national rates of arts attendance have been declining. This downward trend is reflected in both survey data and in the day-to-day experiences of many nonprofit arts organizations. In California, attendance rates -- as defined by traditional measures -- have also declined. And yet, there is a sense that the arts and culture are flourishing as never before, with a renewed vigor and excitement. How do we understand this apparent contradiction?The trend in attendance figures, however, does not reflect Californians' participation in a wide array of arts and cultural activities. People's participation in arts and cultural activities, especially in ways that allow them to develop or release their own artistic impulse, is extensive -- and perhaps nowhere more so than in California.At the same time, California's cultural landscape is undergoing massive changes, affecting the ways people encounter, experience and engage with art. These changes include California's demographic shift to being a so-called "majority-minority" state and rapid technological advances that offer new opportunities for artistic expression and access. These changes pose challenges and exciting new opportunities for how artists and organizations create and share their expertise and work. But to understand these changes and their implications for the nonprofit arts field, a broader, more nuanced, more complete understanding of how Californians participate in arts and culture is required.The California Survey of Arts & Cultural Participation is a tool we developed to ask a wide range of questions about what Californians do to engage with arts and culture.

Teaching Artists Research Project

September 1, 2011

There have been remarkable advances in arts education, both in and out of schools, over the last fifteen years, despite a difficult policy environment. Teaching artists, the hybrid professionals that link the arts to education and community life, are the creative resource behind much of this innovation. Their best efforts are redefining the roles the arts play in public education. Their work is central to arts organizations' strategies for civic engagement and diverse audiences. Excellent research has shown that arts education is instrumental to the social, emotional, and cognitive development of thousands of young people. But little is known about teaching artists. The Teaching Artists Research Project (TARP) deepens our understanding of world of teaching artists through studies in twelve communities, and it will inform policy designed to make their work sustainable, more effective, and more meaningful. A dozen study sites were selected where funding was available to support exploration of the local conditions and dynamics in arts education: Boston, Seattle, Providence, and eight California communities (San Francisco/Alameda County, Los Angeles, San Diego, Bakersfield, San Bernardino, Santa Cruz, Salinas, and Humboldt County). A thorough literature review was conducted, and NORC conducted stakeholder meetings and focus groups, identified key issues and began designing a multi-methods study that would include surveys for both artists and program managers as well as in-depth interviews of stakeholders -- teaching artists, program managers, school officials, classroom teachers and arts specialists, principals, funders, and arts educators in a wide variety of venues.There are no professional associations and no accreditation for teaching artists, so a great deal of time was spent building a sample of teaching artists and program managers in every study site. The survey instrument was developed and tested, and then fielded on-line in the study sites sequentially, beginning in Chicago, and ending with the southern California sites. To assure a reliable response rate, online surveys were supplemented by a telephone survey. Lists of potential key informants were accumulated for each site, and interviewers were recruited, hired, and trained in each site. Most of the interviewers were teaching artists themselves, and many had significant field knowledge and familiarity with the landscape of arts education in their community. The surveys collected data on some fundamental questions:Who are teaching artists?Where do they work? Under what terms and conditions?What sort of education have they had?How are they hired and what qualifications do employers look for?How much do they make?How much experience do they have?What drew them to the field? What pushes them out?What are their goals?Qualitative interviews with a subsample of survey respondents and key informants delved deeply into the dynamics and policies that drive arts education, the curricula and pedagogy teaching artists bring to the work, and personal histories of some artists. The interviews gathered more detailed information on the local character of teaching artist communities, in-depth descriptions and narratives of teaching artists' experiences, and followed up on items or issues that arose in preliminary analysis of the quantitative survey data. These conversations illuminated the work teaching artists believe is their best and identified the kinds of structural and organizational supports that enable work at the highest level. The interview process explored key areas with the artists, such as how to best develop their capacities, understand the dynamics between their artistic and educational practice, and how to keep them engaged in the field. Another critical topic explored during these conversations was how higher education can make a more meaningful and strategic contribution toward preparing young artists to work in the field. The TARP report includes serious reflection on the conditions and policies that have affected arts education in schools, particularly over the last thirty years, a period of intense school reform efforts and consistent erosion of arts education for students. The report includes new and important qualitative data about teaching artists, documenting their educational background, economic status, the conditions in which they work, and their goals as artists and educators. It also includes new insights about how learning in the arts is associated with learning in general, illuminating findings from other studies that have suggested a powerful connection between arts education and positive outcomes for students in a wide range of domains.

Arts Education in America: What the Declines Mean for Arts Participation

February 1, 2011

This report, commissioned from the NORC at the University of Chicago, investigates the relationship between arts education and arts participation, based on data from the Survey of Public Participation in the Arts for 1982, 1992, 2002, and 2008. The report also examines long-term declines in Americans' reported rates of arts learning -- in creative writing, music, and the visual arts, among other disciplines. Authors Nick Rabkin and E.C. Hedberg find that the declines are not distributed evenly across all racial and ethnic groups.

Race/Ethnicity and Arts Participation: Findings from the Survey of Public Participation in the Arts

June 13, 2010

This report analyzes data from the 1982, 1985, 1992, 2002, and 2008 Surveys of Public Participation in the Arts (SPPA). Analyses focus on differential arts participation by race/ethnicity and the effect of race/ethnicity on arts participation. Descriptive and inferential analyses explore trends in arts participation by race/ethnicity across the five rounds of SPPA data. The authors find that, generally, the numbers and proportions of all race/ethnic groups that participate in the arts through attendance at arts events and arts creation are declining over time. The proportion of arts audiences that is white is not declining, despite the fact that the proportion of the national population that is white is declining. Race/ethnic group, per se, is not a strong predictor of attendance at arts events, but it is a good predictor of arts creation activities. Whites and Asians have had arts learning experiences at a greater rate than have blacks and Hispanics. Appendices include: (1) Descriptive statistics, 1982-2008; (2) Participation rate in core arts domains, by race/ethnicity, 1992-2008; (3) Participation rate in core arts creation domain, by race/ethnicity, 1992-2008; (4) Race/ethnic composition of arts creators, by arts creation domain, 1992-2008; (5) Effects of race/ethnicity, educational attainment, and their interactions on specific arts participation (full results); (6) Effects of race/ethnicity, household income, and their interactions on specific arts participation (full results); (7) Effects of race/ethnicity on specific arts creation (full results); and (8) Analysis of logistic regression assumptions. (Contains 36 figures, 40 tables and 7 footnotes.)

Public Attitudes Towards the Regulation of Firearms

March 1, 2007

Support for the stricter regulation of firearms is widespread both in terms of the range of measures endorsed by the public and in terms of the high level of public approval for such measures. As Table 1 shows, majorities in 2006 favor all proposals to expand regulations: 91% support making it illegal to use guns while under the influence of alcohol, 85% want the sale of 50 caliber rifles limited, 82% want the sale of semiautomatic, assault weapons limited, 80% favor criminal background checks for all sales of guns, including private sales between individuals, 79% back requiring a police permit before a gun could be purchased, 76% believe that terrorist attacks have increased the need for stricter gun control, and 54% want illegal gun sales to be punished more severely than illegal drug sales with another 37% saying that punishments for illegal gun sales should be as tough as penalties for selling illegal drugs.