Arts Field at a Glance

8/7/2019 Arts Field at a Glance

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Source: 2010 Census of Local Arts Agencies, Americans for the Arts, June 2010.A Monograph on the findings will be published in the fall of 2010. (Data based on analysis of 879 LAAs)

Local Arts Agency Fact Sheet

A local arts agency (LAA) is a private community organization or an agency of local government that

supports arts organizations, provides services to artists or arts organizations, and/or presents arts

programming to the public. There are an estimated 5,000 LAAs in the United States. 75 percent areprivate nonprofit organizations; 25 percent are agencies of city or county government. LAA budgets

range from all volunteer to over $150 million dollars. LAAs are referred to by an array of namessuch

as arts commissions, arts and humanities councils, arts and business councils, cultural alliances, and arts

funds. While no two are exactly alike, all endeavor to serve the diverse art forms in their community

and integrate the arts into the daily fabric of the community.

69 percent of local arts agencies are grantmakers: 53 percent award grants to arts organizations, 46 percentaward grants to individual artists, and 33 percent do both.

79 percent are technical assistance providers: 53 percent assist organizations (e.g., central booking/boxoffice, marketing training), 59 percent assist individual artists (e.g., artist registry, studio space), and 69

percent assist the general public (e.g., cultural calendar, volunteer recruitment and training).

81 percent produce and/or present cultural programming in their community. 74 percent are directly involved in the planning, development, and/or creation of public art. 72 percent are directly involved in arts education programming and/or arts education advocacy. 49 percent use the arts to address community development issues (e.g., creative economy, cultural districts

and economic development, and civic engagement).

54 percent manage at least one cultural facility (e.g., performance, exhibition, or incubator spaces). 34 percent have completed or updated a community cultural plan within the past five years.

59 percent have at least one paid, full-time employee; 41 percent are volunteer staffed or have one part-time,paid employee.

More than half of LAAs are actively engaged in the following activities: marketing and public relations (74percent), audience development (66 percent), cultural tourism (64 percent), advocacy (63 percent), volunteer

recruitment (60 percent), board development (55 percent), and individual giving (51 percent).

LAAs list the following as their most critical professional development needs: development/fundraising (74percent), marketing/branding (49 percent), audience development (42 percent), and strategic planning (32

percent).

Three-quarters of all LAAs receive funding from local government (city and/or county). Private LAAsreceive 18 percent of their total revenue from local government; municipal LAAs receive 62 percent of their

total revenue from local government.

Average Organizational Budgets of Local Arts Agencies

LEGAL STATUS OF LAA Sample (N)Average

OrganizationalRevenue

AverageLocal

GovernmentSupport

Local Govt.Support as aPercentage ofTotal Revenue

PercentageReceiving ANY

Local Govt.Support

AverageOrganizationalExpenditures

Private, nonprofit 656 $871,892 $168,018 17.5% 71.1% $865,307

Public, government 223 $1,950,795 $1,176,110 61.9% 85.8% $1,880,273

All Local Arts Agencies 879 $1,145,607 $423,768 28.8% 74.8% $1,122,801


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In 1961, the American theatre consisted of only 16theatre companies established specifically foreducational and charitable purposes. Today, thanks inlarge measure to the pivotal role played by the NationalEndowment for the Arts (NEA) since 1965, the not-for-profit theatre field consists of more than an estimated1,800 theatres located in major metropolitan centers,urban neighborhoods, suburbs and rural communities.Their wide-ranging repertoire includes classics; modern

plays and musicals; new plays, adaptations andtranslations by American and international writers; playsfor culturally specific and young audiences; andexperimental, multimedia and performance-art works.

Theatre Facts 2009, a study by Theatre CommunicationsGroup based on its annual Fiscal Survey, reported on anestimated universe of 1,825 not-for-profit professionaltheatres, including 180 profiled TCG member theatres.Combined, these theatres directly contributed nearly $1.9billion to the U.S. economy; the real economic impact iseven greater when spending by theatres attendees andemployees in their local communities is taken into

account. The universe of theatres employed more than128,200 theatre workers, including actors, directors,playwrights, designers, administrators and technicians.For the 180 profiled theatresranging in size from$172,000 in annual expenses to more than $53 millioncompensation of personnel represented more than 54.3%of total expenses, a reflection of the labor-intensivenature of the art form and the many cultural workerswhose livelihoods theatres are preserving. The universeof not-for-profit theatres offered 187,000 performancesthat attracted 30 million patrons. The 180 profiledtheatres served an additional 2.7 million people through1,300 outreach and educational programs, including

touring productions, artists-in-the-schools, teachertraining, workshops and lectures in local communitycenters and libraries, internships for college students,special programs for at-risk children and life-longlearning opportunities.

The direct impact of a theatre receiving funding from theNEA comes not only in the form of project grants, butalso in the multiplier effect that NEA grants, through its2-to-1 or 3-to-1 matching funds requirement, have ontheatres abilities to leverage and attract other private andpublic funding. Indirectly, NEA funding can be

Estimated 2009 Universe of U.S.

Not-For-Profit Professional Theatres

1,825 Theatres

Productivity

Attendance 30,000,000Subscribers 1,500,000Performances 187,000Productions 17,000

Finances

Earnings $810,800,000Contributions $968,500,000Total Income $1,779,300,000Expenses $1,892,000,000Changes in UnrestrictedNet Assets (CUNA) $112,700,000

Work ForceArtistic 80,400Administrative 15,800Technical 32,000Total Paid Personnel 128,200

leveraged for its symbolic imprimatur, and can also befelt by theatres as it trickles down in the form of blocgrants to states. Forty percent of NEA funding goes tostate arts agencies which is then distributed toorganizations like not-for-profit theatres. In total, 92% ofprofiled TCG member theatres received funds fromeither or both the NEA and their State Arts Agency; 39%of these theatres received both NEA and State funding.

By supporting many of the nations finest theatreinstitutions, the NEA has contributed far beyond theactual monetary value of its grants. Nearly every PulitzerPrize-winning play since 1976 originated at an NEA-funded theatre, and a network of educational andoutreach programs has sprung up across the country as aresult of NEA support, ensuring access to all Americansand developing new generations of audiences.

Not-for-Profit Theatre in AmericaThe Field at a Glance


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Examples of Economic and

Community Impact

With the support of a $40,000 Access to ArtisticExcellence grant from the NEA, Childsplay, located inTempe, Arizona, will produce the world premiere ofTheColor of Stars. This play, written by Dwayne Hartfordand directed by Artistic Director David Saar, follows 18-year-old Allie as she uncovers the stories, truths and

childhood experiences of her grandfather Eddie's comingof age in rural Maine during early World War II.Expressed through the voice of a generation of childrengrowing up in a post 9/11 America, The Color of Stars isdesigned to provoke meaningful dialogues and to buildgreater empathy for those touched by wartimeexperiences. This project will be produced on themainstage reaching 20,000 school students and families.Founded in 1977, Childsplay offers arts educationresources to more than 250 schools annually. The theatrehas educated and inspired nearly 4 million Arizonaresidents, and has grown to serve an average annualaudience of 200,000 children and families through itsacademy, teacher professional development andextensive residency work with classroom students.

Cleveland Public Theatre in Ohio received a $10,000Access to Artistic Excellence grant for the Y-HavenTheatre Project to serve homeless men in recovery. Theprogram develops capacities the men can draw upon tomaintain sobriety and transition to employment,permanent housing and independent living. Participantsare engaged in intensive vocal, movement and actingtraining and writing exercises. The 2010 original play,Taking Care of Business, drew from the mensexperiences to tell a story of shame and redemption. Aneight-performance tour played to audiences of homeless

people, incarcerated youth, college students and thegeneral public1,030 people in total. Performanceshelped to raise awareness in the community andreinforce that homeless people and those coping withaddictions can lead productive lives. As one participantcommented, Now the doors are wide open. I can

INCOME AS A PERCENT OF EXPENSES*

(180 Profiled Theatres)

*Percentages total 91.4% because total expenses exceededtotal income by 8.6%.

Earned Income

44.7%

Federal

1.4%

State

1.9%

City/County

2.6%

Corporations

4.3%

Foundations

10.0%

Trustees

5.5%

Other Individuals

11.2%

Fundraising

Events/Guilds

4.7%

United Arts

Funds

0.3%

In-Kind

Donations

2.5% Other

Contributions

2.3%

become what I am meant to be, not by my own design,but with the help of my peers. I finally completedsomething I made a commitment to do.

Thanks to a $25,000 grant from the NEA, La JollaPlayhouse will present the world premiere play ShahMat, by playwright Naomi Iizuka. San Diego is home tomany military installations and the corporateheadquarters of several major defense contractors. It isalso home to the third-largest Iraqi refugee community inthe U.S. and a burgeoning Afghani community. ShahMatwill utilize extensive interviews with members of allof these communities, alongside original scenes andmonologues, to examine the impact of the current warsin Iraq and Afghanistan on a city that serves as amicrocosm of the nation as a whole. Playing animportant role in attracting tourism to the region, over100,000 people, 20,000 of whom were from outside theCounty, attended performances in 2010. In addition, thePlayhouses flagship education touring initiative broughta musical for young audiences to 43 schools across theCounty, reaching 15,500 children through 66

performances. La Jolla Playhouse is not only a vitalcultural resource for the County of San Diego, but also aprovider of hundreds of jobs. In 2010 alone, thePlayhouse employed over 450 people and engaged 1,085volunteers.

A $25,000 NEA Access to Artistic Excellence grant toIdaho Shakespeare Festival supported the Festival's twoannual school touring programs, Idaho Theater for Youthand Shakespearience. These tours bring fully staged,professional theatre productions into K-12 classrooms inall regions of Idaho. In 2010, Idaho Theater for Youth,serving grades K-6, presented Aesops Network:

Broadcasting Theatrical Fables, by E. Gray Simons III,while Shakespearience, serving grades 7-12, presentedWilliam Shakespeares Othello. The 168 in-schoolperformances, together with related study guides andinteractive workshops, reached a total of 46,730 studentsand teachers in 141 schools.

BREAKDOWN OF EXPENSES

(180 Profiles Theatres)

ArtisticPersonnel

19.2%

Admin.Personnel

20.5%

ProductionPersonnel

14.6%

Physical

Production6.6%

GeneralProduction

3.6%

Royalties

2.2%

Development3.6%

Marketing/

CustomerService11.7%

Facil./Equip./

Insurance9.4%

Depreciation4.6%

GeneralManagement/Operations

4.0%


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OPERA America serves the opera field in its broadest dimension, supporting the creation,

presentation and enjoyment of opera. In the United States, it counts 117 professionalcompanies in 43 states in its membership. It also serves 19 professional companies in six

provinces in Canada, which are members of Opera.ca.

Two-thirds of these companies were established since 1960 and of these companies more than

half were established after 1970, making the growth of opera throughout North America a

relatively new phenomenon. In addition to its North American membership, OPERA America

works in partnership with Opera Europa to serve 91 affiliated companies in Europe, as well as

serving four additional companies from around the globe. (Source: OPERA America)

AttendanceOver 4.3 million people attended a live performance at one of OPERA Americas Professional

Company Members in 2009, including education and outreach programs, and festivals.

Number of Performances and Productions

In 2009-2010, OPERA Americas Professional Company Members in North America presented

2,100 performances and 449 fully staged main season and festival productions.

Audience Demographics

In 2008, the median age of the opera attendee was 48, one year older than in 2002. In 2008,

5.2% of adults with a Bachelor's or higher degree attended an opera performance. (Source:

National Endowment for the Arts)

Broadcast and Recorded Media

The percentage of adults viewing or listening to opera via television broadcast and recorded

media remains higher than live attendance. In 2008, 11 million adults, or 4.9% of the adult

population, viewed or listened to an opera broadcast or recording. (Source: National

Endowment for the Arts)

Economic Impact

Currently, North American opera companies have over 55,000 full-time and part-time

employees. Expenses for OPERA America companies in the United States were nearly 1 billion,approximately 60 percent of which went directly to artist salaries, taxes and benefits. (Source:

OPERA America)


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Box Office Income and Private Support

OPERA America companies in the United States posted $369 million in box office receipts for

FY09 . Private support of OPERA America companies totaled $505 million in FY08, representing52% of the total income. (Source: OPERA America)

Federal Government Support

Total government support for American opera companies in FY09 amounted to $17.7 million,

approximately 1.8% of the total expenses Total support from the National Endowment for the

Arts in FY09 amounted to $1,585,272, or 0.16% of the total expenses.(Source: OPERA America)

New Works

In the calendar years of 2009 and 2010, OPERA America members are involved with 51 world

premieres. Since 1990, over 400 new operatic works have been produced by professionalopera companies in North America. (Source: OPERA America)

Most Frequently Produced Operas

The most frequently produced operas in the 2009-2010 season were: The Marriage of Figaro,

La bohme, Carmen, Tosca, La traviata, Madame Butterfly, The Magic Flute, Hansel and Gretel,

The Elixir of Love and Don Giovanni. (Source: OPERA America)The most frequently produced

North American operas in the 2009-2010 season were: George Gershwin's Porgy and Bess,

Stephen Sondheim's A Little Night Music, John Adamss Nixon in China, Lewis Spratlans Life is a

Dream, Jake Heggies Three Decembersand Gian Carlo Menottis Amahl and the Night Visitors.

(Source: OPERA America)


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State Arts Agency Funding and Grant Making

State arts agencies are important partners with the National Endowment for the Arts, which, by law, allocates

40% of its annual grants budget to state arts agencies and their regional arts organizations. Each of the 50states and six special jurisdictions has a government agency that use these funds to address local needs andbroaden the reach of federal dollars across the nation. Through services and grant making, these agenciesprovide cultural, civic, educational and economic benefits to every states residents. State arts agencies arepublicly-guided entities that rely on the commitment of citizen volunteers to serve as council members, grantpanelists, and participants in the agencys strategic planning process.

State Arts Agency FundingState arts agencies will manage $346 million in fiscal year 2011. The vast majority of this revenue comes fromstate general funds, allocated through appropriations from state legislatures. Funding from the NationalEndowment for the Arts (NEA) is another essential form of support for state arts agencies. Some state artsagencies also receive funding from private sources or other federal programs.

State arts agency funds support 23,000 arts projects across theUnited States each year. These projects take place in nearly5,000 communities and include a wide range of activities,including performances, exhibitions, and arts education.

State Arts Agency Facts

States currently invest $272.0 millionabout 87 cents per capitain state artsagencies.

State arts agency appropriations comprise0.039% (less than one tenth of onepercent) of total state general fundexpenditures in fiscal year 2011.

Each year, state arts agencies support23,000 arts projects across the UnitedStates. Funds go to 17,500 organizations,schools and artists in nearly 5,000communities.

Total legislative appropriations to state arts agencies currentlystand at $272.0 million or 87 cents per capita. Between fiscalyears 2010 and 2011 appropriations declined by 7.2%, a loss of$21.2 million.

The decrease in aggregate appropriations among state artsagencies reflects the current budget environment. While thenational economy overall is slowly showing signs of recovery,state governments are continuing to struggle with the impact of

the recession.

State Arts Agency Grant MakingState arts agencies provide a wide array of citizen services. Among the most important of these serviceswhichinclude public information, partnership building, technical assistance, research and planningis grant making.State arts agencies invest their funds in a variety of grant projects designed to foster:

educational success, by investing in arts education opportunities for students; arts participation, by supporting performances, exhibitions and lifelong learning programs; accessibility, by investing in programs that widen the availability of the arts, especially in rural areas and

among underserved populations;

cultural infrastructures, by investing in operating support for cultural organizations and by supporting thedevelopment of grassroots arts networks;

innovation, by supporting individual artists and the development of new creative programs; and artistic heritage, by investing in the preservation of cultural traditions.For more information about state arts agencies, call 202-347-3666, email [email protected] or visitwww.nasaa-arts.org.
http://www.nasaa-arts.org/mailto:[email protected]


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Grantstoartsorganizations

G

rantstoartists

Grantstocomm

unitygroupsandschools

SymbolsindicateZIPcodesofatleastone(andoftenmorethan

one)grantrecipient.

StateAr

tsAgencyGrantsbyRecipien

tType

FiscalYear2010


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AMERICAN ASSOCIATION OF MUSEUMS

______________________________________________________

1575 EYE STREET NW, SUITE 400WASHINGTON, DC 20005

202.289.1818FAX 202.289.6578

American Museums Top 12

1. American museums receive more than 850 million visits a year. Thats morethan all major league sporting events and amusement parks combined.

2. There are more museums in the United States (at least 17,500) thanMcDonalds restaurants or Starbucks cafs.

3. The median cost of an adult museum admission is just $7 cheaper than amovie ticket while 41% of U.S. museums are free and 73% of the rest offerfree days.

4. Every week, Americans donate one million hours of their time to museums,

with a total annual value of more than $1 billion.

5. Museums hosted more than 55 million students on field trips during the 2007-08 school year.

6. The nations museums spend more than $2 billion a year on educationprogramming and support.

7. American museums preserve and protect more than one billion objects.

8. Museums employ 400,000 Americans.

9. In 1989, museums received an average of 39% of their funding fromgovernment sources; today, just 24% comes from governments.

10. In 2008, museums made a direct contribution to the U.S. economy of morethan $21 billion (just counting expenses, salaries, purchases, etc.) and anindirect contribution of billions more.

11. Americas nonprofit arts and culture sector generates $166 billion ineconomic activity every year, with a return on investment of more than $7 intaxes for every $1 in government appropriations.

12. Americans trust museums: 87% of Americans describe museums astrustworthy and a majority say museums are the most trustworthy source ofinformation about the past.


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Quick Orchestra FactsApril 2011

Orchestras are a Vital Part of Americas Musical Landscape and Civic LifeWith more than 1,800 symphony, chamber, collegiate, and youth orchestras across the country, America isbrimming with extraordinary musicians, live concerts, and orchestras as unique as the communities they serve.

Orchestral music making is flourishing in our country, encouraging creativity and bringing people together toshare the experience of live music. Orchestras fuel local economies, attract new business development,educate young people, and - through the power of music - unite individuals and cultures in good times and bad.

How many communities and people are involved with orchestras?Orchestras exist in all 50 states, in virtually every community, with annual budgets ranging from less than$10,000 to more than $90 million.

350-400 professional orchestras, which means they have paid musicians800-900 volunteer orchestras150-200 collegiate/conservatory orchestras400-500 youth orchestras

More than half a million individuals are involved in orchestras, including conductors, staff, board members,musicians, and volunteers. And thats not even counting millions of people in the audience!

Who goes to orchestra concerts?More people (and younger) than you realized! In the 2008-09 season, they played to an audience of just over25 million attendees nationwide. At traditional classical subscription concerts, more than 60% of theaudience were adults younger than 55 in 2008.1 The total number of concerts performed has risen by nearly4% in the last decade. In 2008-09 Americas orchestras performed more than 32,000 concerts.

13,417 Education9,544 Classical1,612 Pops1,288 Community Engagement1,779 Chamber/Ensemble5,173 Other Concerts (including choral, opera, ballet, summer, family, and festival events)

What is the financial structure of orchestras?Orchestral activity is supported by a combination of public and private support and every piece is critical.Orchestras are not supported by ticket sales alone. As members of the nonprofit charitable community,orchestras depend upon private philanthropy and civic support.

2008-09 Orchestra RevenuePrivate contributions 39%

Concert Income 35%Endowment 13%Other Earned Income 9%Government Grants 4%

Orchestra revenue totaled $1.69 billion in 2008-09. Their economic impact exceeds several times that amountas orchestras create jobs, engage in commerce with local businesses, and spur local expenditures on relatedgoods and services (hotels, restaurants, parking facilities, and more).


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Why does a community support its orchestra?Orchestras are an important part of the community fabric. The presence of an orchestra is often an indicator ofa communitys economic and cultural strength, as communities with orchestras tend to draw volunteers, voters,

philanthropists and other active, civic-minded participants. From a survey of 800 random households in 10American cities2, the vast majority of citizens believe that the presence of live, professional performing arts inthe community

Improves the quality of life Promotes understanding of other cultures Fosters pride in the community Contributes to the education and development of children

What role do orchestras play in music education and community engagement?Orchestras are essential and active partners in increasing access to lifelong music education. They enhancethe quality of life in their communities by collaborating with school systems and other local partners to deliver awide array of education and community programs. Education and community engagement activity in Americas

orchestras is growing fast, with nearly three times as many events as a decade ago. Orchestras now offernearly 13,000 education concerts, more than 1,000 community engagement concerts, and more than 40 kindsof programs, including:

Pre-school programs In-depth, multi-year community residencies Long-term partnerships with schools Instrumental instruction Educational classes for seniors Programs in libraries and hospitals

How can children reap even more of the benefits of music education?Music education is an indispensable part of life-long learning, and participation in music programs prepares

students to succeed in school, work, and life. Thats why the great majority of orchestras engage in advocacyon behalf of in-school music education in their communities. Also, kids play their part by joining an orchestra.Being part of an orchestra encourages young people to develop their talents and to experience teamwork, self-discipline, and individual expression. There are nearly 500 youth orchestras across America. Neworchestras are created each year to help meet the growing demand for music education and positive activitiesfor young people. These orchestras involve more than 50,000 young musicians in the joy of music makingand all its ancillary benefits.

League of American OrchestrasThe League of American Orchestras leads, supports, and champions Americas orchestras and the vitality ofthe music they perform. The League works to stimulate the exchange of innovative ideas and practices and topromote unity across the orchestra field. The League delivers meaningful information, learning and leadershipopportunities, grass-roots advocacy and other services to its diverse membership, which encompasses nearly900 member symphony, chamber, youth, and collegiate orchestras of all sizes. Founded in 1942 and chartered

by Congress in 1962, the League links a national network of thousands of instrumentalists, conductors,managers, board members, volunteers, staff members, and business partners. Visit americanorchestras.org tolearn more.

Contact: Heather Noonan, Vice President for Advocacy, League of American [email protected], 202 776 0215

All statistics in the guide are from the most up-to-date League data available except the following -1National Endowment for the Arts, 2008 Survey of Public Participation in the Arts, p. 20.

2Performing Arts Research Coalition, The Value of the Performing Arts in Ten Communities, p. 3.


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-continued-

Dance/USA 1111 16th St NW Suite 300 Washington, DC 20036 ph 202.833.1717 fx 202.833.2686 www.danceusa.org

Prepared February 2011

SNAPSHOT OF THE FIELD

Background

There are now over 600 fully professional dance companies in the United States. But only 15% of the United

States major professional dance companies are 45 years old or more. For example, the Martha Graham

Dance Company, founded in 1926, is the second longest-standing company in the nation. As an established

art form with national identity and presence, dance has burst onto the scene almost entirely within living

memory.

And yet, the United States can boast some of the great dance companies in the world. The key to thisspectacular achievement was the creation of a national marketplace for dance, especially in the 1970s and

1980s. When the National Endowment for the Arts (NEA) instituted its Dance Touring Program in the 1970s,

great dance became accessible to every community in the United States. What used to be a handful of

professional companies and a scattering of regional dance became a national treasure spread across cities

and through communities, schools, and theaters in all 50 states. NEA programs have continued to ensure that

the best of American dance is for all of the United States and a showpiece for the rest of the world as well.

In addition to the more than 600 professional dance companies, the United States has over one thousand pre-

professional and semi-professional groups.

The Past Decade

From 2000 through 2009, the dance field was severely challenged by economic and political forces beyond its

control. Two serious recessions, a diversion of charitable dollars to social issues such as disaster relief, and a

conservative anti-tax political climate in many states led to cutbacks in funding on many levels. Dance

companies responded by downsizing their budgets through a reduction in expenses.

From 2000 through 2004, the number of companies reporting cutbacks acceleratedin 2000, 9% of

companies reported cutbacks from the previous year; in 2002, 28% reported cutbacks; in 2003, 36% reported

cutbacks; and in 2004, 41% reported cutbacks.

From 2006 through 2008 some stabilization occurred. The number of companies reporting cutbacks stood at

about 27% for those years, an improvement, but not yet back to the healthy lower levels of the late 1990s.

In addition, the period from 2000 to 2008 saw the closing of five major companies and the reduction of two

others from full performing ensembles to schools. This compares with the loss of only one major company in

the entire decade from 1990 through 1999.

The recession that began in 2008 and subsequent fiscal crisis brought challenges to many in the field with

individual donations, corporate support, or both decreasing, in addition to declines in ticket sales.

Dance/USA, the national service organization for professional dance, seeks to advance the art form by

addressing the needs, concerns and interests of professional dance. Dance/USA believes that dance is

essential to a healthy society, demonstrating the infinite possibilities for human expression and potential,

and facilitating communication within and across cultures.

Dance/USAs membership currently consists of over 400 ballet, modern, ethnic, jazz, culturally specific,

traditional and tap companies, dance service and presenting organizations, artist managers, individuals,

and other organizations nationally and internationally. Dance/USAs member companies range in size

from operating budgets of under $100,000 to over $50 million.


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Distribution of the Dance Field*

Profile of the Dance Field

The 288 companies with expense budgets of $100,000 or more for fiscal years ending in 2009

Generated more than $600 million in economic activity across the United States.

:

Had expenses totaling $613.5 million,

and paid approximately $320.5 million,

or 45% of expenses, in wages and benefits.

This figure appears to confirm reports of salary freezes

and wage reductions at dance companies in response to

the fiscal crisis that began in fall 2008. For fiscal years

ending in 2008, the 145 U.S. companies with budgets

greater than $500,000 paid approximately $321.4 million in

wages and benefits.

Earned approximately $189.0 million,

or 34% of their income, from performances.

Received approximately $273.8 million,

or 49% of their income, in contributions.

This represents contributions from all sources including

public support, corporate contributions, foundation support

and individual donations.

This figure seems to support recent reports of reductions

in performance income, captured both in the press and in

field surveys, as this figure stood at 37% of income in

2008, and 38% in 2007.

Collected the remaining 17% of their income

through a variety of other sources.

Employed over 12,000 people in a mix of full-time and part-time positions.

This number includes most of the 4,500 dancers the Bureau of Labor and Statistics counted working at all U.S. dance

companies in May 2009. Anecdotal reports from the field indicate that there were reductions in dancer employment for

fiscal years ending in 2009.

Had nearly 4,000 members collectively serving on their 501c3 boards.

Can be found in 40 of the 50 U.S. states, and in the District of Columbia.

Represent all styles and genres of dance.

Alphabetically, these companies perform aerial, ballet, ballroom, culturally specific (including African, Asian, Indian, and

Spanish), hip hop, historical, jazz, liturgical, tap, modern/contemporary, multi-disciplinary, and physically integrated, as

well as fusions of one or more of these forms.

*The distribution of U.S. dance companies is drawn from Dance/USAs National Company Roster, a listing of all known501c3 dance companies in the U.S. with expense budgets greater than $100,000 for fiscal years ending in 2009.

This data is somewhat approximate because it draws on publically available data for 2009 fiscal years with 241companies reporting information in this year of the 288 total.

A majority of companies reporting this figure (55% of 153 reporting) listed performance revenue between 20% and 49%of total income.

Over$7,000,000

$3,000,000 to$6,999,999

$1,000,000 to $2,999,999

$500,000 to $999,999

$100,000 to $499,999

Under $100,000

49 companies

29 companies

15 companies

62 companies

133 companies

approx. 250 companies

(115 known)


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CHAMBER MUSIC AT A GLANCE

Chamber Music America (CMA), the national service organization for the chamber music profession, defineschamber music as music for small ensembles (2-10 musicians), whose members generally perform one to a

part and without a conductor.

Originally rooted in the Western classical tradition, chamber music now encompasses diverse styles, genres

and influences, from medieval to contemporary, classical to jazz, acoustic to electronic, and from Europe and

the Americas to Africa and Asia. CMAs membership reflects the variety of todays ensemble music

community: vocal and instrumental ensembles, individual musicians, local chamber music societies and large-

scale presenters, composers, educators, artist managers, publicists and chamber music enthusiasts.

At the heart of chamber music is the spirit of collaboration. In small ensembles, the musicians engage in a

close musical conversation with one another, without the aid of a conductor. As in an ideal democracy,

chamber music relies upon the collective instincts, experience, knowledge, and talents of its participants to

guide the process of interpreting, rehearsing, and performing.

Chamber Music ensembles come in a wide variety of sizes, as well as a broad array of possible

instrumentations. The illustrations below represent the best-known kinds of ensembles.

Ense mble Distribution by Size

10%

15%

29%16%

3%

16%

11%

Duo

Trio

Quartet

Quintet

Sextet

Large Ensemble

Variable

Ensem ble Distribution by Instrum entation

3%

65%

2%

19%

1%

6%

3%

1%

Brass

Mixed

PercussionString

Vocal

Woodwind

Piano

Saxophone

The relatively small size of most chamber ensembles gives them added flexibility. Adaptable to a wide variety

of venues, chamber ensembles are well positioned to provide specialized performances and educational

activities for private and community organizationsand for audiences of every age and social background.

Today, hundreds of thousands of people enjoy chamber music performances in venues that range from large

concert halls and outdoor festivals, to more intimate settings, such as homes, community centers, churches,

schools, bars and clubs, and galleries. In addition to a large repertoire of masterpieces, chamber musicians

have at their disposal an ever-growing library of contemporary works. Because of its breadth and diversity,

chamber music is one of the broadest and most varied options available in todays competitive musical

marketplace.


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ALL IANCE OF ART I STS COMMUN IT I ES

255SOUTHMAINSTREET,PROVIDENCERHODEISLAND02903

TEL(401)3514320|FAX(401)3514507

www.artistcommunities.org

FIELDATAGLANCE::ARTISTRESIDENCYPROGRAMS

Artistresidencyprogramsalsocalledartistcoloniesorartistcommunitiesprovideartistsofanydiscipline(visualarts,writing,music,dance,film,design,etc.)withdedicatedtimeand

spacetowork.

Supportingtodaysartistsinthecreationofnewworkisessentialtohumanprogressnot

asaluxury,notasaleisureactivity,butasavitalandnecessaryforceinsociety.Artist

residenciesarenotaboutretreat;theyareaboutadvancementadvancingcreativity,

advancinghumanprogress,andadvancingthewayweexaminetheworld.

Myresidencywasalife-changingexperience,whichopenedmanydoorsinmyquesttoboth

preservetraditionandfindvalidwaysofcontributingfresh,personal,andcontemporary

materialtothegenre.ItalsounlockedthedoortoarichsourceofinternalinspirationandcreativepotentialthatIwillprobablyexplorefortherestofmylife.

Dr.MichaelWhite,jazzcomposerandhistorian,NewOrleans

Thereareanestimated500artistresidencyprogramsintheUS,fromDenaliPark,AlaskatoKeyWest,andfromJoshuaTree,CaliforniatoNortonIsland,Maine

ArtistresidencyprogramsintheUSsupport15,000artistseachyearwith$40millioninservices,includinghousing,studiospace,materials,technicalassistance,andfees

60%ofartistresidenciesarelocatedinsmalltownsandruralareas,providingunder-servedpublicswithprofessionalartsprograms

Artistresidencyprogramsservepainters,poets,composers,choreographers,filmmakers,printmakers,andotherartistsatallcareerstagesandfromall

backgrounds

Artistresidencyprogramshaveprovidedcriticalsupporttomanyofournationsmostcelebratedartistsandhaveservedasthebirthplaceofsomeofourgreatestworksof

art:AaronCoplandsAppalachianSpring,GregoryMacGuiresWicked;Thornton

WildersOurTown;MichaelChabonsTheAmazingAdventuresofKavalier&Clay;andworksbyAllenGinsberg,DavidSedaris,MarcelDuchamp,ChristoandJeanne-

Claude,RobertRauschenberg,JamesBaldwin,JohnLennon,TrumanCapote,BillT.

Jones,SpaldingGray,LeonardBernstein,EdwardAlbee,LangstonHughes,LizLerman,

SylviaPlath,GwendolynBrooks,BobDylan,JohnCage,MerceCunningham,andmany,

manymore.


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Why the Arts Belong in the Classroom:

Demonstrating the Impact of VSA ProgramsBy using the arts to enhance inclusive teaching and learning, VSA programs providestudents with disabilities with valuable academic advantages and teachers withinnovative, research-based strategies to ensure participation and progress for everystudent.

These arts-integrated programs offer students a means of self-expression, createself-confidence, and build career skills while fostering communication andindependence. The arts enhance education, advance socialization, and promoteinclusion, and VSAprograms make it possible for more people with disabilities tocontribute to the social, cultural, and economic life of their communities.

Inclusion teaches us that all means all. Everybody. No exceptions. By cultivatingcreativity and imagination in the lives and learning of students with disabilities, VSA

promotes inclusion in ways that reach beyond the standard academic curriculum.

VSA is the sole provider of federally supported programs for arts in education forstudents with disabilities. In 2010, 276,000 students in pre-kindergarten throughgrade 12, including 136,000 students with disabilities, received direct arts instructionthrough 3,700 VSA programs in 44 states and the District of Columbia. In addition:

VSA affiliate organizations report that through efforts to create inclusion, nearlyhalf (49%) of all students who participate in VSA programs are students withdisabilities.

More than 5 million people participate in VSA programs every year. Funding to VSA, shared with its national affiliate network, generates $7 for each

dollar of federal investment.

The arts improve and expand teaching skills in innovative ways. VSAaffiliatesprovided professional development to 8,400 teachers and teaching artists in 2010.Training teachers to take advantage of the arts in the classroom, as well as tostrongly link arts curriculum to educational standards, strengthens the learningprocess for more than 600,000 students with and without disabilities across thecountry.

Integrating the arts into learning can produce dramatic results. Consider theseexamples:

Workshops offered by VSA New Jersey increased participants cognitive skillsby an average of 76%. In a teaching artist residency in the state, 85% ofparticipants showed growth in their use of art materials and artistic processesas they created original artworks.


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In addition to improvement in student learning, one VSA South Carolinateaching artist residency had such a profound effect that reports of behavioralincidents among participating students decreased 900% within the first monthof the program.

An educational program from a New York affiliate measured the increase in

student self-esteem at 69% and the improvement in student communicationskills at 54%.

In an educational environment driven by academic achievement, the arts have anaccepted and demonstrated capacity to capture the attention of students andteachers. Teachers value the increased focus, involvement, and growth in skills fromstudents with disabilities who have the opportunity to participate in and learn throughthe arts.

The arts effectiveness in classroom learning has been observed and documented

through: Improving problem-solving skills with an emphasis on sequencing, as well

as pattern recognition and creation.

Improving motivation and comprehension sustaining focus and time-on-task leads to demonstration of recall, such as letter recognition.

Increasing vocabulary and improving writing theme-based instructionprovides a meaningful means of engagement and self-assessment,particularly in developing descriptions and details.

The arts play a valuableand irreplaceable role in learning. VSA and its affiliates

are leaders in assuring that ALL of our nations students receive equal benefit from theskills the arts can teach.

About VSAFounded in 1974 by Ambassador Jean Kennedy Smith, VSA is an internationalnonprofit organizationthat provides arts and education opportunities for people withdisabilities and increases access to the arts for all. VSA programming and initiativesare guided by four essential principles:

Every young person with a disability deserves access to high quality artslearning experiences.

All artists in schools and art educators should be prepared to include students

with disabilities in their instruction. All children, youth, and adults with disabilities should have complete access

to cultural facilities and activities. All individuals with disabilities who aspire to careers in the arts should have

the opportunity to develop appropriate skills.

For more information about VSA, go to vsarts.org or facebook.com/VSAInternational


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ARTS IN HEALTHCARE

Acrossthenation,theartsareanintegralcomponentofhealthcare.Partnershipsbetweenartsandhealthprofessionalsdemonstratetangiblebenefits,includingimprovingoutcomes,reducingcosts,andbuildingcommunities.Thisdocumentprovidesevidencethatsupportssuccessfulartsin healthcare programs and encourages growth of these programs to improve our countryshealthandwellness.

Arts in Healthcare isa diverse field representing over 16,000 medical, arts, and creative

arts therapies professionals dedicated to transforming the experience of healthcare by

connecting people with the power of the arts at key moments in their lives. This rapidly

growing field integrates the arts, including literary, performing, visual arts, and design, into

a wide variety of healthcare and community settings for therapeutic, educational, and

expressive purposes.

Researchdemonstratesthebenefitsofthearts intraditionalhealthcaresettingsaswellas in

mental health programs, schools, rehabilitation treatment centers, special needs camps,

disasterresponseteams,psychiatricforensicunits,nursinghomes,veterans'facilities,prisons,

communitycenters,wellnessprograms,andmilitarybases.Studiesshow that integrating the

artsintohealthcaresettingshelpsto:

1) CultivateahealingenvironmentThe Arts Share Program at the University of Iowa, offers the Patient Voice Project,providing therapeutic sessionswith chronically illpatients thathelps themwrite their

personal stories. The program outcomes include: stimulating health and wellbeing

benefits for patients; improving patientdoctorfamilypatient communication; and

promoting empathy and better quality care by healthcare practitioners about the

humanexperienceofchronicillness. http://www.uiowa.edu/artsshare/


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2) Supportthephysical,mental,andemotionalrecoveryofpatientsDance/MovementTherapyisprovidedatTheNeighborhoodHouseAdultDayServicesin Salt Lake City. Intergenerational programs for older adults and preschool aged

children are offered, aswell as programs for adults diagnosedwith traumatic brain

injury,physical,visual,orintellectualimpairments.

For40years,CreativeAlternativesofNewYork(CANY)hasbeenofferingtherapeutictheatreprogramstocommunitieswithspecialneeds.CANYisbasedatover15different

treatmentsettings intheNewYorkmetropolitanarea, includingMountSinaiMedical

CenterandNewYorkPresbyterianHospital.DramaTherapyprogramsassist children,

youth,andadultswithmentalhealthneedscreate fictionaldramas thatallow for the

expressionoffeelings,liferoles,andexperiences. http://www.cany.org/

TheWorldTradeCenterEnvironmentalHealthCenteratBellevueHospitalinNewYorkCitytreatsresidents,workers,andrescuersaffectedbyexposuretothetoxicdustcloud

ofSeptember11th.Artanddance/movement therapy interventionshave focusedon

stress reduction, anger management, selfcare, empowerment, adaptation, andaccessingtraumaticmemoryoftenstoredinimages.SenatorSchumerwasinvitedtoan

exhibitofexemplaryartworkatBellevue inDecember2008entitled Artof theDust

Cloud,andwassubsequentlyasked to sponsorasimilardisplay in theSenateRussell

rotunda.

Boardcertifiedmusic therapistsworkcloselywithothermembersof theMedicaland

Rehabilitation Therapies teamwithin theUniversity of IowaHospitals and Clinics in

IowaCity.Theyprovidebothindividualandgroupservicesformultipleunits,including

adultpsychiatryandadultmedicalareas. InChildPsychiatry,musictherapyaddresses

social, cognitive, physical, emotional, behavioral, and communication goals. For

Inpatient Medical Pediatric Services, interventions are beneficial to children

experiencing social isolation, behavioral resistance to medical routine/procedures,

developmentaldelayandfear,anger,ordepression. IntheNeonatalIntensiveCareUnit

(NICU),musictherapyprovidessafesoundstimulationforbabies'developmentalneeds.

http://www.uihealthcare.com/depts/rehabilitationtherapies/musictherapy/childrensser

vices.html3) CommunicatehealthandrecoveryinformationThe Prenatal Therapeutic Dance Project (PTDP) was created to improve prenataleducation,careandhealingeffectsforpregnantwomen.Weeklysessionswereoffered

atSettlementHealth,acommunityhealthcenterthatservesEastHarleminNewYork.The sessions, where pregnant women received guidance in gentle, physically and

emotionally expressive arts, also provided a forum for discussing perinatal health

educationtopics.Allofthepatientsreportedincreases inenergy levelswithdecreases

in physical discomfort; all reported that the PTDP increased their pregnancy care

knowledge;and90%reportedanimprovedconnectionwiththeirbaby.


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4) FosterapositiveenvironmentforcaregiversthatreducesstressIn2006,theMuseumofModernArtinNewYorkCitylaunchedMeetMeatMoMA,an

educational program specifically designed for people with Alzheimer's disease. This

monthlyprogram features interactive toursof theMuseum's renowned collection of

modernartand itsspecialexhibitions for individuals intheearlyandmiddlestagesof

thedisease,alongwiththeirfamilymembersandcaregivers. SpeciallytrainedMuseum

educatorsengageparticipantsinlivelydialoguebyfocusingindepthoniconicartfrom

MoMA'scollection.MeetMeatMoMAhasshownthattheactoflookingatartcanbea

richandsatisfyingexperienceforpeoplewithAlzheimer'sdiseaseandtheircaregivers.

http://www.moma.org/learn/programs/alzheimers

5) Createsafer,moresupportive,andfunctionalenvironmentsDuring the past decade, the field of evidencebased design has expanded. It is now

recognizedthatwelldesignedphysicalenvironmentsplayan importantrole inhelping

tomakehospitalsandotherhealthcarefacilitieslessriskyandstressfulforpatientsand

their

families

and

better

places

for

staff

to

work.

Rady

Childrens

Hospital

in

San

Diego

is leading theway in evidencebased design in childrens hospitals. The hospital has

several healing gardenseach involved commissioningmany artists and designers to

transform lackluster courtyards into whimsical outdoor retreats. These peaceful

sanctuariesprovidequiet respite forpatients, families,and staff andpromotehealth

andwellbeing.Thehospitalcombinesextensiveknowledgeofchildrenandtheirneeds

with the growing body of evidence about the interaction of people and places: the

impactoflightandcolor,oftextureandtone,ofsoundsandsymbols. Theycombinethe

artsandthesciencestohelpchildrenheal.

http://www.rchsd.org/aboutus/healingenvironment/index.htm

Arts inhealthcareprogramsandcreativearts therapieshavebeenapplied toavastarrayof

healthissues,includingposttraumaticstressdisorder,autism,mentalhealth,chronicillnesses,

Alzheimers and dementia, neurological disorders and brain injuries, premature infants, and

physicaldisabilitiestoimprovepatientsoverallhealthoutcomes,treatmentcompliance,and

qualityoflife.

In2004and2007,theSocietyfortheArtsinHealthcarepartneredwithTheJointCommission

andAmericansfortheArtstoconductsurveysthatexaminedthepresenceofthearts inU.S.

healthcarefacilities.

Thesesurveysrevealed:

Approximately 45% of responding healthcare institutions had arts programs utilizingcreative arts therapists and/or professional artists in their facilities. Reasons for

investinginartsprogramsincludedbenefitingpatientsphysical,mental,andemotional

recovery;creatingahealingenvironment;andhelpingpatientsfamilies.


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Between 2004 and 2007, the number of organizations funding their arts programsthroughtheiroperatingbudgetsonlyroseby16%.Althoughthe increase ispromising,

this accounted for only about half of the arts programs in healthcare institutions.

Additionalsupport isnecessary forarts inhealthcareprogramstoadequatelyrespond

toournationsgrowinghealthcareneeds.

BENEFITSOFTHEARTSINHEALTHCARE

Documentedbenefitsofparticipatinginvisualartsandarttherapyactivitiesinclude:

TheMATISSEstudyaimstoevaluatetheclinicalandcosteffectivenessofgroupArtTherapyfor

peoplewithschizophrenia.

Crawford,M.J.,Killaspy,H.,&Kalaitzaki,E.,etal.(2010).TheMATISSEstudy:arandomisedtrialofgrouparttherapyforpeoplewithschizophrenia.BMCPsychiatry.2010;10:65.doi:10.1186/1471244X1065.PMCID:PMC2940860|Abstract|FullText|PDF248K|

Clinicalarttherapycanbeeffectiveforadolescentswhousuallyfinditnonthreatening;theirart

canrevealtheyouthsconcernsandlifecircumstances,especiallythosetooriskyorpersonally

embarrassingtorelateverbally.

Riley,S.Arttherapywithadolescents.(2001).WestJMed.July;175(1):5457.PMCID:PMC1071468FullText|PDF3.3M|

Creativity interventions using expressive therapies have a demonstrably positive effect on

mentalandphysiologicalhealthindicatorsinolderadults. Arttherapycanbeadiagnosticand

therapeutictool. Benefits:Copingstrategiescanimprovetoadapttophysicalandpsychosocial

changes of aging. Drawing,painting, sculpting help reconcile inner conflicts, releasedeeply

repressedemotions,fosterselfawarenessandpersonalgrowth.

Lavretsky,H.(2009).Complementaryandalternativemedicineusefortreatmentandpreventionoflatelifemoodandcognitivedisorders.Aginghealth.5(1):6178.doi:10.2217/1745509X.5.1.61; PMCID:PMC2772166.|Abstract|FullText|PDF102K|

A2005outcomes study showedquantitativeevidenceofbenefits fromartsparticipation for

peoplewithmentalhealthneeds;qualitativecasestudiesofsixartsandmentalhealthprojects

inEnglandexploredbenefitsfromartsparticipation.

Secker,J.,Spandler,H.,&Hacking,S.,etal.(2007).Artformentalhealthssake.mentalhealthtoday,July/August2007;PavillionPublishing,Ltd(Brighton,England)http://www.developbromley.com/public/ArtsandCulture/Evidence/Art.For.Mental.Healths.Sake.pdf

Overview of the background, objectives, aims, settings, and methodology of the project

Creativity,theartsandarttherapyinmentalhealthrecovery:Developingaresearchagenda,

fundedbyPrahranMissionandMindAustralia,July2007toApril2008.


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VanLith,T.,Fenner,P.,&Schofield,M.,etal.(2008).Creativity,theartsandarttherapyinmentalhealthrecovery:developingaresearchagenda. AcollaborativeresearchprojectbetweenMindAustralia,PrahranMissionandLaTrobeUniversity.(LaTrobeUniversity,Melbourne,Victoria3086.)ISBN1(printversion):9781921377549;ISBN1(electronicversion):9781921377570.

Positiveoutcomesachievedthroughmusictherapyandmusicinterventionsinclude:

Infants receiving Neonatal Intensive Care UnitMusic Therapy (NICUMT) gained more

weight/day

than

infants

not

referred

for

music

therapy.

Standley,M.,&Swedberg,O.(2011).NICUMusicTherapy: PostHocAnalysisofAnEarlyInterventionClinicalProgram.TheArtsinPsychotherapy,38(1),3640.http://www.sciencedirect.com/science/journal/01974556

Music training found tobemoreeffective for speechproduction in low functioning children

withAutismSpectrumDisorderthanspeechtrainingwithoutmusictherapyprotocol.

Lim,H.A.(2010).Effectof"DevelopmentalSpeechandLanguageTrainingThroughMusic"onSpeechProductioninChildrenwithAutismSpectrumDisorders.JournalofMusicTherapy,47(1):226.http://www.ncbi.nlm.nih.gov/pubmed/20635521

Rhythmicauditorystimulationinmusictherapytoaidbraininjuryrehabilitationshowsbenefits

forimprovingmeasuresofwalking.

Bradt,J.,Magee,W.L.,Dileo,C.,Wheeler,B.L.,McGilloway,E.(2010).Musictherapyforacquiredbraininjury.CochraneDatabaseofSystematicReviews.Issue7.Art.No.:CD006787.DOI:10.1002/14651858.CD006787.pub2.

http://onlinelibrary.wiley.com/o/cochrane/clsysrev/articles/CD006787/frame.html

http://www.cochrane.org/podcasts/issue7july2010/musictherapyacquiredbraininjury

Music listening found to result inbeneficialeffectsonheart rate, respiratory rate,and state

anxiety inmechanically ventilated patients. These positive effects tend to decrease risk for

complications,decreaselengthofhospitalizationandinturndecreasehealthcarecosts.

Bradt,J.,Dileo,C.,Grocke,D.(2010).Musicinterventionsformechanicallyventilatedpatients.CochraneDatabaseofSystematicReviews.Issue12.Art.No.:CD006902.DOI:10.1002/14651858.CD006902.pub2 http://www2.cochrane.org/reviews/en/ab006902.html

MusicTherapyhelpstoreducesymptomsofdepression.

Maratos,A.,Gold,C.,Wang,X.,Crawford,M.(2008).Musictherapyfordepression.CochraneDatabaseofSystematicReviews.Issue1.Art.No.:CD004517.DOI:10.1002/14651858.CD004517.pub2

http://www2.cochrane.org/reviews/en/ab004517.html

Positiveoutcomesattainedviadanceanddance/movementtherapyinclude:

Decreasesindepression,andincreasesinpositiveaffectandvitalityinpsychiatricpatientswith

depression.


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Koch,S.C.,Morlinghaus,K.&Fuchs,T.(2007).Thejoydance:specificeffectsofasingledanceinterventiononpsychiatricpatientswithdepression.TheArtsinPsychotherapy,vol.34,pp.340349.doi:10.1016/j.aip.2007.07.001http://www.adta.org/Admin/Default.aspx

Improvementinmoodandotherindicatorsofhealthindepressedadolescents.

Jeong,Y.,Hong,S.,Lee,M.S.&Park,M.(2005).Dance/movementtherapyimprovesemotionalresponsesandmodulatesneurohormonesinadolescentswithmilddepression.InternationalJournalofNeuroscience,vol.115,pp.17111720.http://informahealthcare.com/doi/abs/10.1080/00207450590958574

Decreasesinaggressiveincidentsamong4th,5

thand6

thgradersandin2

ndgraders,astatistically

significantreductioninproblematicbehaviorsthatcontributetoviolenceintheschools.

Koshland,L.&Wittaker,J.W.B.(2004).Peacethroughdance/movement:Evaluatingaviolencepreventionprogram.AmericanJournalofDanceTherapy,vol.26,no.2,pp.6990.http://www.springerlink.com/content/m6193708j56831ng/

Hervey,L.&Kornblum,R.(2006).AnevaluationofKornblumsbodybasedviolencepreventioncurriculumforchildren.TheArtsinPsychotherapy,vol.33,pp.113129.http://www.sciencedirect.com/science?_ob=GatewayURL&_method=citationSearch&_urlVersion=4&_origin=SDTOPTWOFIVE&_version=1&_piikey=S0197455605000766&md5=35b240c2acf8afe7e1b2887405297

5d6

Decreases inaphasiaand/oragnosiafollowingdance/movementtherapysessionsforpatients

withAlzheimersdisease.

Dayanim,S.(2009).Theacuteeffectsofaspecializedmovementprogramontheverbalabilitiesofpatientswithlatestagedementia.AlzheimersCareToday.AprilJune,pp.9398.http://journals.lww.com/actjournalonline/Abstract/2009/04000/The_Acute_Effects_of_a_Specialized_M

ovement.7.aspx

Interventionsinvolvingdramatherapy,psychodrama,anddramaticartshave

demonstratedthefollowingbenefits:

WorkingwithclientswithPTSD,dramatherapysafelyincreasescapacitytotoleratethe

rememberingandexpressingofdifficultmemories.

Lahad,M.(2006).FantasticReality,Haifa:NordandcitedinFoa,E.,Keane,T.M.,Friedman,M.J.(2009).EffectiveTreatmentsforPTSD:PracticeGuidelinesfromtheInternationalSocietyforTraumaticStressStudies(2ed.),GuilfordPress:NewYork,pg.485.

Amongclientswithautismandotherdevelopmentaldisabilities,theuseofdramatherapy

improvesselfesteem,confidenceandexpressivity.

Snow,S.(2003).Therapeutictheatreandwellbeing. TheArtsinPsychotherapy30,2,7382.http://www.sciencedirect.com/science?_ob=ArticleURL&_udi=B6V9J-4899VDC-

1&_user=10&_coverDate=12%2F31%2F2003&_alid=1665335045&_rdoc=2&_fmt=high&_orig=search&

_origin=search&_zone=rslt_list_item&_cdi=5900&_sort=r&_st=13&_docanchor=&view=c&_ct=3&_acct


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=C000050221&_version=1&_urlVersion=0&_userid=10&md5=8d057f9842bc6cffd79bd7bf8a34d209&se

archtype=a

Forsuicidalyouthacrosscultures,theuseofmythandfairytaleindramatherapyfacilitates

accessandinsightsaboutdifficultpersonalmaterial.

Silverman,Y.(2004).Thestorywithin mythandfairytaleintherapy.TheArtsinPsychotherapy,31,3,127135. http://www.sciencedirect.com/science?_ob=ArticleURL&_udi=B6V9J4CRY4SB

1&_user=10&_coverDate=12%2F31%2F2004&_rdoc=1&_fmt=high&_orig=&_origin=&_zone=rslt_list_ite

m&_cdi=5900&_sort=d&_docanchor=&view=c&_ct=1&_acct=C000050221&_version=1&_urlVersion=0&_

userid=10&md5=75532b0aac414ac1398855f4f499e073&searchtype=a

Apsychotherapeuticrelaxationgroupthatintegratesdramatherapyandprogressivemuscle

relaxationdiminishesaggressionandregulatesbehavioramongchildreninanacutepsychiatric

hospital.

Bornmann,B.A.,Mitelman,S.A.,Beer,D.A.(2007).PsychotherapeuticRelaxation:Howitrelatestolevelsofaggressioninaschoolwithininpatientchildpsychiatry.TheArtsinPsychotherapy,34,3, 216222.http://www.sciencedirect.com/science?_ob=ArticleListURL&_method=list&_ArticleListID=1659464544&_

sort=r&_st=13&view=c&_acct=C000050221&_version=1&_urlVersion=0&_userid=10&md5=02592cf00a6

6c798391fbcf49e4c95c0&searchtype=a

Dramatherapy(ENACTMethod)usedinNewYorkCitysmosttroubledpublicschoolsincreases

emotionalintelligenceandhelpsstudentstomodifydisruptivebehaviorintheclassroomandat

home.

Horowitz,R.(2011). SocialandEmotionalDevelopmentandTheaterSkillsinENACTWorkshops:Context,conditions,processandoutcomes. Thisstudy,fundedbyTheFordFoundation,isavailablethrough

www.enact.com

Studiesusingcreativewritingandpoetrytherapyasaninterventionreport:

Improvinglungfunctioninstudentsandadultswithasthmaafterwrittenemotionalexpression

(Bray,Theodore,Patwa,Margiano,Alric,andPeck,2003)

Decreasingvisitstophysiciansandreducingsymptomcomplaints(Pennebaker,1997,2004)

Research has also focused on architecture and evidencebased healthcare design,

whichinclude:

Thedesignofthephysicalenvironmentimpactshospitalacquiredinfectionratesbyaffectingall

threemajor transmission routesair, contact,andwater. Evidencebasedhealthcaredesign

candecreasethenumberofhospitalacquired infections,saving livesandreducingtreatment

costs.

Klevens,R.M.,Edwards,J.R.,Richards,C.L.,Horan,T.C.,Gaynes,R.P.,Pollock,D.A.,etal.(2007a).EstimatinghealthcareassociatedinfectionsanddeathsinU.S.hospitals.PublicHealthReports,122(2),

160166.http://www.cdc.gov/ncidod/dhqp/pdf/hicpac/infections_deaths.pdf


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Spacesthatreducenoiseandimprovelightingdecreasetheriskofmedicalerrors.Inaddition,

singlepatient roomshavebeenassociatedwith fewermedicalerrors,aswellasbetter staff

communication, less patient transfer, and lower infection rates as compared to multibed

patientrooms.

Chaudhury,H.,Mahmood,A.,&Valente,M.(2006).Nursesperceptionofsingleoccupancyversusmultioccupancy

rooms

in

acute

care

environments:

An

exploratory

comparative

assessment.

Applied

Nursing

Research,19(3),118125.

http://cool.coa.gatech.edu:8000/patientroom/uploads/1/Nurse%20Perception_Single%20vs.%20Multi%2

0rooms.pdf

Healthcarefacilitydesign,whichharnessesnature,light,andotherenvironmentalfactors,can

beimportanttoenhancingpatientpaincontrol.

Malenbaum,S.,Keefe,F.J.,Williams,A.C.,Ulrich,R.,andSomers,T.J.(2008).Paininitsenvironmentalcontext:Implicationsfordesigningenvironmentstoenhancepaincontrol.Pain,134,241244.http://www.journals.elsevierhealth.com/periodicals/pain/article/S03043959(07)007142/abstract

Poorlydesignedphysicalenvironmentscancontributetohospitalizedpatientsstresslevel.

Ulrich,R.S.,Zimring,C.,Quan,X.,&Joseph,A.(2006).Theenvironmentsimpactonstress.Ins.marberry(Ed.),Improvinghealthcarewithbetterbuildingdesign.Chicago:HealthAdministrationPress(pp.3761).

Providing singlepatient rooms and private discussion areas can facilitate communication

among patients, family, and staff, offering important social support, facilitating family

membersinvolvementinpatientcare,andincreasingpatientsatisfaction.

PressGaney,Inc.(2007).Hospitalpulsereport:PatientperspectivesonAmericanhealthcare.RetrievedMarch18,2008,fromhttp://www.pressganey.com/galleries/defaultfile/hospitalreport.pdf

ArtsinHealthcareintheNews

ArtTherapyHelpsChildrenCopewithTragedy,CBSNewYork,November4,2010,

http://newyork.cbslocal.com/2010/11/04/arttherapyhelpschildrencopewithtragedy/

Dance/MovementTherapy:AutisticBoysTherapy,TimesUnion,October2010,

http://www.timesunion.com/default/media/Autisticboystherapy4312.php

MusicTherapy:InsideGiffordsRehab,CNNHealth,February18,2011,

http://thechart.blogs.cnn.com/2011/02/18/19059/

Poetry,PaintingtoEarnanM.D.,TheWallStreetJournal,February1,2011,

http://online.wsj.com/article/SB10001424052748704680604576110240337491446.html?mod=

WSJ_LifeStyle_Lifestyle_5#articleTabs=article


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HowDoesYourHospitalRoomMakeYouFeel?,TheNewYorkTimes,December16,2010,

http://www.nytimes.com/2010/12/16/health/views/16chen.html?_r=1&scp=54&sq=art%20an

d%20health&st=cse

Documents

Arts Field at a Glance