SMU DataArts, the National Center for Arts Research, is pleased to provide the 2019 Arts Vibrancy Index Report. Like its four predecessors, this year’s edition draws upon a set of data-informed indices to identify arts-vibrant communities across the U.S.
Arts and cultural organizations exist where people live throughout the nation, serving communities both poor and affluent, rural and urban. Their ubiquity is a testament to the human need for creativity and desire to engage with artistic expression. In 2018, arts activity in every U.S. Congressional District in the country benefited from federal funding from the National Endowment for the Arts.
Arts and cultural organizations are engines of community development and community cohesion. The arts provide culturally infused experiences that are consumed in an open, social setting, which is ideal for engendering social integration in a diverse marketplace. The current climate of political, sociocultural, and economic polarization makes it more important than ever to recognize and celebrate the essential role that arts and culture play in making communities throughout the country not only more vibrant places to live and visit but also more unified, safe, and tolerant.
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All cities can learn from each other’s strengths. In this report, we highlight and celebrate communities big and small, located in every region, that have cultivated higher levels of arts activity per person living in the community. We use the term “vibrancy” in keeping with Merriam-Webster’s definition of the word to mean “pulsating with life, vigor, or activity.”4
Rather than base the list on popular vote or on our own opinion about locations, we take an empirical approach to assessing a variety of characteristics that make up a community’s arts vibrancy. Our method involves measuring community traits, such as the number of nonprofit arts and cultural organizations per capita. Although this may appear to some like a counting exercise, there is more to it. All else being equal, more arts and cultural organizations in a community translates to more availability of arts experiences for people to engage within that community. It also means more variety. A community with 50 arts organizations most likely has a greater range of options than a community of comparable size with only five organizations, so a greater diversity of interests, preferences, and cultural expressions can be met. This is just one example of the 12 measures we use.
We openly admit that our measures of vibrancy do not capture artistic quality, nor do they say anything about who participates in the arts, or the many cultural offerings by organizations whose core mission lies outside of the arts such as parks, military bases, hospitals, and libraries.
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We do not include qualitative assessment about the value or depth of the experience with art for any individual or community. To avoid bias, we intentionally exclude data that is available only for some cities but not others. We will continue to add new rubrics and additional measures as they become available on a national scale in order to capture the most complete and unbiased assessment of arts vibrancy. For now, the metrics used in this report are based on the most reliable and geographically inclusive sources of data available.
To assess arts vibrancy across the United States, we analyze four measures under each of three main rubrics: supply, demand, and public support for arts and culture on a per capita basis.
We gauge supply as total arts providers, demand with measures of total nonprofit arts dollars in the community, and public support as state and federal arts funding. We use multiple measures since vibrancy reveals itself in a constellation of ways.
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Each community has its own story of what makes it unique and vibrant, so we share highlights to give a better understanding of the life, vigor, and activity that are reflected in the numbers. Local arts councils, arts alliances, convention and visitor bureaus, and other agencies provided descriptions of their community’s exceptional history, attributes, and assets. These descriptions were not used in calculating vibrancy but add context to communities that are recognized in this study as Top Arts-Vibrant Communities. We thank them for their help.
Ten percent of the communities are entirely new to our lists this year while another 20 percent return after not being included in the 2018 report.
Table 1: Top 20 Arts-Vibrant Large Communities (Metropolitan Areas or Metro Divisions with population over 1, 000, 000)
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Arts and cultural organizations are intimately tied to their communities. SMU DataArts recognizes this and combines data from nonprofit arts and cultural organizations with data for the communities in which they reside. By geolocating organizations and linking them to their community’s characteristics in the data, we can identify factors that affect the health and sustainability of arts organizations. We know from our research that each of the factors from the ecosystem included in this report has an influence on a variety of financial, operating, and attendance outcomes for arts and cultural organizations. We share our findings regarding the operating and community characteristics that drive performance – and how they affect performance – in our quarterly reports (see, for example, The Fundraising Report).
Arts and culture also play a vital role in a city’s livability and its social cohesion. The Arts Vibrancy Index (AVI) can help arts leaders, businesses, government agencies, funders, and engaged citizens understand the overall intensity and capacity of the community’s arts and culture sector. Past AVI reports have helped communities get the recognition they deserve from their mayors, city council members, and state legislators for their previously under-appreciated arts activity. Arts leaders have informed us that they use the AVI reports and interactive map on our website to consider where to relocate their operations and what markets are ripe for touring performances or exhibitions. Communities can benchmark themselves against an aspirational set of communities and understand what sets them apart by examining the underlying dimensions of demand, supply, and public support for arts and culture. This granular detail provides insights as to why two cities that seem very different on the surface might be close to one another in the ranking.
From 2010 to 2016, Americans for the Arts’ National Arts Index tracked the aggregate vitality of the nation’s arts and culture. There are valuable frameworks that chronicle a neighborhood’s cultural resources such as the Cultural Asset Index and the Baltimore-focused interactive tool GeoLoom. There are published rankings that assess the strength of arts and culture as part of a larger look at a city’s attractiveness and livability, and others that focus on the arts and cultural sector’s role as part of creative placemaking. We share some metrics with these other studies and tools but, in keeping with SMU DataArts’ mission, our ranking focuses solely on arts and culture with heavy emphasis on the nonprofit sector.
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We drew our measures from a review of the existing literature on arts and culture indicators and from our Model of the Arts & Culture Ecosystem (see Figure 2), which features a complex and interdependent set of relationships among: 1) artists and arts organizations; 2) their communities; and 3) government funding that influences the production and consumption of arts and culture.
Our measures are aggregated across the 12 arts and cultural sectors that are included in SMU DataArts’ research and KIPI Dashboard: Arts Alliances and Service Organizations, Arts Education, Art Museums, Community, Dance, Music, Opera, Performing Arts Center, Symphony Orchestra, Theater, Other Museum, and General Performing Arts.ii Some sectors combine arts and cultural disciplines with similar characteristics.iii
Communities are defined by the Office of Management and Budget (OMB) as MSAs, or Micro-and Metropolitan Statistical Areas. As described on the OMB website:
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at least one urbanized area of 50, 000 or more population, plus adjacent territory that has a high degree of social and economic integration with the core as measured by commuting ties.”
at least one urban cluster of at least 10, 000 but less than 50, 000 population, plus adjacent territory that has a high degree of social and economic integration with the core as measured by commuting ties.”
Focusing on MSAs provides a nationally standardized, objective approach to delineating markets. MSAs capture the network of suburbs that rise up around a city or town rather than considering them separately. A key feature, as quoted above, is the “high degree of social and economic integration with the core as measured by commuting ties.”
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Arts leaders sometimes balk at the notion of MSAs because they think about the character of their city in very different terms than they do that of surrounding suburbs. And yet audience members, artists, and employees of arts organizations live in the surrounding suburbs, particularly when real estate prices make living in the urban core cost-prohibitive. Off-site production facilities and storage are frequently located in less expensive parts of town that may or may not fall within the city’s official boundaries. The main airport often lies outside of the city limits and yet the arts and cultural organizations
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