by Lauren Cox
Since I was a little girl, I have been in love with ballet. My parents took me only once a year to a professional performance because they knew I loved it, but it was expensive. They were also paying for my dance classes, but I was only allowed to pick one genre whilst my classmates could afford to take several different dance classes every year. Now, as a poor college student, my love for ballet is exercised using the student rush program at our local professional ballet company and taking adult ballet classes with a local studio that offers “pay what you can” tuition. Then and now, I rely on accommodations to access the art I love. My enthusiasm for the arts cannot be sated, however, and even as I attend a prestigious art college, I recognize that there are those who have even less access to the art sphere than I. My passion has become equity and accessibility in the arts. I believe that the arts are necessary to our humanity, and I am deeply determined to make sure that everyone, especially marginalized groups in society, can have those barriers brought down that prevent them from life-changing arts access. In this paper, I will explain why art is important to society, outline several barriers to arts access, and provide ideas on how to remove them.
Let’s define art for the purposes of this paper. “Art” or “arts”, in my argument, will be a term used to describe the participation in, viewing of, and/or creation of visual art, music, performance, literature, and/or cuisine. I maintain that the mere attempt of defining what is and isn’t art is inherently elitist. Putting art into a box that disqualifies certain types of art or expression and includes others (almost always including traditional western “classic” forms of art) is just an effort to play keepaway with the idea of “art” and continue moving the finish line for newcomers to the space.
This being said, the way that I personally define art and the context for which I will use the term “art” going forward is as follows. Art is any practice of creation that the creator and/or the beholder deems as art. Yes, this definition is extremely broad: if I create something I do not view as art but a viewer does, it is still art. This is intentional. I believe that art is anything that evokes an emotional experience or communicates something that connects with our deepest sense of humanity. A crumpled love letter I spotted in a puddle is art to me in the sense that it inspires, evokes emotion, and leaves a lasting impression on me, the viewer. Many snooty people were and are in uproar over the definition of hip hop and rap as “music” because it didn’t fit their definition of what music should be, but the artists that made it and those that love listening to it disagree. I argue that the inherent beauty of art is that it’s different to everyone– and that, with each interaction with humanity, it stirs up a unique reaction. I believe humanity is defined by our ability to make art, or, in other words, meaning, out of anything, anywhere, at any moment, and it is that ability that I believe is so integral to our survival as a species and our understanding of what to prioritize in the communities we build.
Since it is as essential to human life and well-being as breathing or eating, art has notable effects on society and the interpersonal environment in communities. Perhaps most obviously, the presence of art in society increases social cohesion. I borrow my definition of social cohesion from WE-Making: Conceptual Framework: “Social cohesion is what we call it when individuals feel and act as part of a group that is oriented toward working together” (11). Social cohesion has been found to be a “protective factor” for both physical and mental health within communities (Rios, 58). According to the National Endowment for the Arts, individuals who attend art museums or live arts events are significantly more likely to volunteer, vote, do charity work, and attend community events than those who do not (Art-Goers, 2, 10).
Intrinsically tied to social cohesion is the intersection of arts and culture, which I would argue are the same thing. In many communities, celebration of culture and heritage is integral to a sense of belonging, unity, and self esteem. “At its simplest, culture is itself a form of social capital. When a community comes together to share cultural life, through celebration, rites and intercultural dialogue, it is enhancing its relationships, partnerships and networks” (Stern and Seifert, 23). Art is culture, and the creation of and participation in art is what largely defines and differentiates various cultures. Food, music, visual artistic style, dance, and artistic group traditions such as festivals can make individuals feel at home and united to those that they may not otherwise know. An excellent example of this is America, commonly referred to as the melting pot of the world. I would agree with those that prefer to refer to it as a salad bowl, in that a large number of different cultures have come into one place but maintain their individual identities. Ever since mass immigration began in America, cultural and ethnic groups have established their own areas where they can continue the traditions of their homeland –in large part, if not entirely– based on recreating the art that defined their experience of home.
The presence of art in communities is also a factor in the safety of that community. Studies have found that arts-based programs for court involved youth reduced negative behaviors and increased emotional intelligence (Ross). As aforestated, social cohesion is one great benefit of arts involvement. Among the outcomes of increased social cohesion as a result of arts engagement is a greater sense of identity and belonging, which diverts attention from other sources of belonging such as gang activity. In addition, an increased focus in especially cultural arts has been linked to a reduction in racial/ethnic harassment while supporting and increasing racial/ethnic diversity.
The safety of a community deeply affects the mental and physical health of its inhabitants. Arts access has been shown to improve not only the safety of a community, but also the community’s health rates. The World Health Organization defines health as: “A state of complete physical, mental and social well-being and not merely the absence of disease or infirmity.” Thus, the connection between one’s social and mental health are indelibly connected with physical health. Golden et al found arts engagement to “address mental health concerns, foster social cohesion, reduce healing time, improve access to care, support mobility and movement, promote longevity, reduce stigma, and support collective action toward shared health goals” (1045-48).
Despite the numerous ways in which art can substantially improve communities, it remains largely inaccessible to many in middle and lower class environments. This disproportionately affects communities of color, as due to historic oppression, discrimination and redlining, they are more likely to be low-income than their white counterparts. It is my belief that the disconnect is so large between sophisticated arts organizations and their potential beneficiaries that these organizations do not even fully understand all the ways in which they gatekeep the arts from the proletariat. For example, if someone wanted to see a Broadway show (because the theatre community lauds Broadway as the only or best place to see theatre, which is another topic of elitism in itself), they’d have to take time off work, buy a plane ticket to New York, purchase a hotel room, pay for transportation to and from the theatre, and on top of that, buy their actual ticket to the show. This is simply impossible for many people.
The most obvious accessibility barrier is price. This could include prices of tickets to events and shows, price of parking, price of educational programs, and price of materials needed to participate in these programs. A 2023 study found that nonprofit arts organizations are less likely to offer free services and access the more commercialized they become (Hung et al, 644-45). This begs the question: what is the benefit of the nonprofit to the community if they only provide arts access to those who can pay for it? In order to be equitable, organizations must navigate the difficult line between paying artists and employees a healthy and living wage and providing arts access at free and reduced cost. An example of this would be rush tickets, which are significantly reduced price tickets sold a few hours before a show is about to start. This allows more people to be in seats that would otherwise be unoccupied due to the price barrier. However, organizations should do research on their demographic to make sure that the reduced price is appropriately low and that the communities that need it most are informed.
Time is another barrier for many. Younger people tend to have less free time due to being in school, working non-standard hours (such as weekends or late nights), or raising young children. Many older people do not like to be out late due to safety concerns after dark, sleep schedules, or an avoidance of driving at night. Especially when it comes to performances or recurring classes or programming, there are limited time of day options, and sometimes just for one or two weekends. Once these events begin, it is not usually appropriate for latecomers to join, at least not without some degree of embarrassment. Many performances do not even let ticket-holders enter the auditorium after a certain time. Additionally, the actual time of the event is only the tip of the iceberg. Patrons spend time researching the offerings, coordinating with any companions, picking a time and paying for their spot, often finding childcare, getting ready for the event, commuting to and from the venue, and more. Sometimes, a short event isn’t worth the hassle for these people, and other times, a long event makes it even more difficult to squeeze into a busy schedule. Obviously, the time of day that a performance, exhibition, or program is offered won’t work for everyone, but organizations must consider what the time-based needs of their demographic are and time their programming accordingly.
The location should also come into consideration when striving for accessibility. First of all, is it necessary for patrons to leave their homes? As already indicated, Broadway is an extreme example of an arts event that usually requires some degree of extensive travel and free time to participate in. Many in the theatre community are vehemently opposed to professionally shot videos of shows, but this gatekeeping in the name of preserving the art of live theatre only serves to prevent a larger audience from experiencing the art form. If a patron is able to leave their house, however, they will have to consider the location that they’re traveling to. Is it easy to access from public transit? What is the weather or sunlight level like if some amount of walking is required? “Shakespeare in the Park” and other free outdoor public theater programs are a great example of solving the issue of accessibility by bringing their production to the public as a service, rather than the public coming to them. The Columbus Actors’ Theater is a local company doing exactly this: free or donation-based professional theatre exposing all audiences to both the classic works of Shakespeare and contemporary playwrights, connecting them to today’s world and each other.
The venue itself is also a consideration. Does the venue have ample, well lit parking? How much does it cost to park? For disabled patrons, this is even more of a hurdle. They need to know if the venue is ADA compliant and if there are accommodations available for their specific needs. Does the venue disclose this information publicly on their website, or does the disabled person have to call the venue themselves to find out? That could be a potentially embarrassing or demanding task that a patron should not have to be responsible for in order to access art.
There are also less visible barriers to arts access that are more difficult to solve. Namely, the elitist unspoken rules and understanding in many arts spaces that can make a newcomer feel unwelcome or out of place. For example, those who have not been brought up going to or learning about the arts might not understand or anticipate the plot of a famous ballet, since there is no talking in the performance. BalletMet Columbus has addressed this problem in their production of The Nutcracker by adding a small amount of narration in strategic places throughout the story, since The Nutcracker is commonly attended by people who do not usually go to ballets. This elitist environment can be found in any arts space, but is true especially of the ballet, orchestra, and opera: some of the last remaining arts spaces from the aristocracy. For these events in particular, another unspoken rule is dress code. Historically, there was a strict dress code for attending, as these affairs were an opportunity to showcase wealth and leisure. Most institutions will say that there is no dress code nowadays, but some people may still feel unwelcome if they show up to the opera in jeans. One can go on about the unspoken rules of arts spaces, such as only clapping at an orchestra after a musical number, not between movements, or the assumption that there will be an intermission at most performances, or the expectation to use hushed voices in an art gallery. The article, Ease of Access and the Arts, said it best: “Many nonprofit arts organizations say that the arts are for everyone but continue to promote unspoken rules and expected behaviors that create an elitist environment. Rather than seeking to teach community members to “be good audience members,” arts organizations should closely examine potentially elitist underpinnings of their expectations and seek to actively welcome community members exactly as they are without any implications that they must change in order to participate” (Rhine and Pension).
One reason patrons can feel uncomfortable in arts spaces is because they were unable to access the arts early in their education. It’s no secret that arts education in US schools is on the decline, and funding is limited. This is especially true in low-income districts, often disproportionately populated with marginalized communities of color and immigrants. Suburban, town, and rural school districts, the areas that tend to have higher-income populations and/or more white families than urban areas, have a 90% chance of having at least one class in the arts. On the other hand, inner-city school districts only had a 78% chance of at least one arts-related course. Furthermore, studies show that as the percentage of students who qualify for free or reduced lunch increases, the likelihood of that public school offering any arts education decreases. In fact, in areas where 100% of the student population is eligible for free or reduced lunch, the public schools have only a 68% chance of offering arts programs (Elpus, 50-69). Expanding access to the arts in schools is crucial for the well being of our society because of all the social reasons aforestated, but also for the sake of the individuals feeling well rounded, expressive, and at home in any arts space they want to be a part of.
There will never be a clear cut solution to any of these problems. However, it’s crucial that we work to dismantle them, piece by piece. Every step that takes us closer to equity makes a big difference in the lives of those it affects. I know for myself, small things such as student rush tickets, pay what you can systems, and other programs have opened up a world that would otherwise be shut to me. I want to live in a world where everyone is free to participate in the arts as often and deeply as they like, without barriers, and I for one will not stop working toward that.
Acknowledgements
I am very grateful to Dr. Tiffany Bourgeois (Ohio State University) for advising me to embark on a research project for my capstone, and for providing valuable feedback and advice on my concept that gave me confidence and clarity on how to begin. I would like to thank Dr. Michael Kellner, Prof. John Cairns, Prof. Thom Glick, Prof. Elizabeth Trapp, and Prof. Lesley Jenike (Columbus College of Art and Design) for their special attention and advice on the structure, approach, and direction of this project. I would also like to thank Christine Mannix (Columbus College of Art and Design), without whose excellent library database research instruction this paper would not have been possible.
Image by Izayah Li.
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