 |
||||
|
|
|
||
|
|
|
||
|
|
By Jennifer Sadler and Alyssa Adkins In 2010, as the country began its recovery from the economic recession of 2008, communities began to seek ways of strengthening and growing their economies to not only survive but thrive. Organizations based on providing basic needs held onto the security that their critical role in communities would sustain them, but many in the arts and culture sector, nationally and locally, had to find their own creative ways to obtain crucial funding. On April 6 of 2010, PNC bank announced a new initiative, PNC Arts Alive, an investment that would provide $1.5 million in grants over the course of three years to artists and organizations in the central Ohio area. As a result of this local investment, as well as other similar initiatives across the country, PNC was recently awarded 2013 Business Committee for the Arts 10 Best Business Partnering with the Arts in America. During times when every public dollar is competitive, and policymakers question why the arts should receive funds when so many other needs are pressing, this commitment from the business sector to support the arts is imperative. Fortunately, as the economy has begun to rebound, business support for the arts has also gained momentum. According to a national survey released in 2013 by the Business Committee for the Arts (BCA), business support for the arts rose between 2009 and 2012, with cash plus non-cash giving increasing 18 percent. The survey shows that business support has climbed back to 2006 levels. This upward giving trend looks likely to continue. BCA, a division of Americans for the Arts, a nonprofit organization for advancing the arts, examined the giving habits of 600 small, medium and large U.S. companies that made philanthropic contributions between 2009 and 2012. The percentage of giving to any philanthropic cause was up from 52 percent in 2009 to 64 percent last year. The total philanthropic contributions to the arts rose from 15 percent in 2009 to 19 percent in 2012, while the median gift size from large businesses rose from $15,500 in 2009 to $30,000 in 2012. The survey found that smaller businesses continue to be highly focused on contributing to their local markets: 82 percent of support comes from businesses with less than $50 million in revenue. Surprisingly, 47 percent of overall support comes from businesses with less than $1 million in revenue. And 96% of business support is directed to local arts projects.
|
|
|
 |
|
 |
| David Danzmayr’s Baton |
|
 |
|||
|
 |
saxophonist, composer, flutist, tambourine player, drummer...the list goes on!Nicole Rachelle By Jennifer Sadler As the most comprehensive online events guide and resource for arts and culture in central Ohio, ColumbusArts.com offers a virtual guide through the Columbus art world with a searchable database of events, concerts, performances and more. ColumbusArts.com is an engaging place for artists and arts organizations to share what they do, with thousands of users per month. The ColumbusArts.com Artist Directory allows visual, performing and literary artists to create a profile and portfolio to showcase their work—for free—and enables art enthusiasts to easily search for and connect with them. Our monthly ColumbusArts.com artist profile series features interviews with some of the many talented individuals who make up central Ohio’s thriving creative community. For this issue, we interviewed an outrageously talented local jazz musician, Nicole Rachelle. Nicole’s passion for music began as a young child and was encouraged by her parents (both musicians themselves). After discovering the saxophone in 6th grade, Nicole began seriously studying jazz, classical, rock and funk music. As a high-school sophomore, she joined her school band director’s professional working band, Apex. While a sophomore studying jazz at Capital University in Columbus, Nicole joined Urban Jazz Coalition, helping them over the next decade to gain international acclaim. “Being a great jazz musician is mostly about developing focused listening skills…When you’re on stage, you need to know what everyone is doing so you can respond. The soloist might take a left turn unexpectedly; that’s an opportunity for something magical to happen – when everyone on stage is focused on listening to each other.”
|
|
|
 |
|||||||||
|
|
|
|
|
|
|
|||
|