by Harold McMillan

Speaking of Scenes

I'm not really particularly attached to the word "scene" itself. A lot of the time the word conjures up visions other than those I have in mind. To some extent I must admit that part of what I'm talking about here is really about commerce, about trying to find ways for the arts community to get paid for the work we do. And to do that, we have to do business. We have to find ways to use the "scene" as a marketing concept, a tool. More than that particular notion, I'm really talking more about community-building. To borrow a cliche, "If we build it, they will come."

As some of you know, in mid-November DiverseArts moved into the building here on Guadalupe Street called the ArtPlex. This wasn't something we had been planning to do for a long time, but the timing just worked out that way. Now we are here, have set up shop, and have come to really appreciate our new digs. There are a lot of good folks here -- artists, businesses, arts organizations, a budding community ready to bloom. I'm going to come just short of calling it a "scene." I don't want to do that. What I do see happening here is that other thing I'm talking about.

In this one building, like no other address in Austin, is a vibrant, self-contained, growing, potentially important, multidisciplinary arts community in the making.

Were it the brain-child of some urban - planning - smart - growth - compact - city devotee, it would probably be innovatively labeled "Austin's arts business incubator." The surrounding commercial properties would then be dubbed the Uptown Arts District. Before long the Downtown Alliance and the Convention and Visitors' Bureau would be pushing it to tourists, and the local media would then have to identify our part of downtown as a "scene" -- restaurants, art galleries, studios of working artists, performance spaces, night clubs, and some very edgy high tech media houses and avante-film professionals.

I can see it now, an alternative to the pretension of the upscale Warehouse District. A complete 180 degrees away from the pandemonium of the adolescent nightlife of Slick Street. What a concept, huh?

I talk about all of this in terms of its potential for the future, based on the attributes of this area today. I'm trying not to get ahead of myself. I have not pronounced or announced the birth or rebirth of yet another downtown arts district. I really believe there has to be more going on in an area, more intentional connected-ness than presently exists in the MLK-Lavaca-Guadalupe-15th Street 'hood.

The ties that bind, at this point, seem to mostly be proximity. But just take note of what already sits on these few blocks just north of the Capitol: Women and Their Work Gallery, Lyon Matrix, Gallery Sin Fronteras, The Clay Pit (a new Indian restaurant), Dog and Duck Pub, Mars Restaurant, El Mercado, Dobie Theater, Scottish Rite Performance Hall, and the ACA Gallery@ArtPlex... oh yeah, there's also the Capitol Complex and the University of Texas' museums, galleries, and performance halls all within walking distance.

But, believe it or not, that is not the final point I'm trying to make here. It should be obvious to most marketing-types (especially those of us who don't have any money) that there is a sale-able hook here. Merely as marketing concept/tool, there already exists a district here. The residents just haven't done anything to pull together for mutual benefit. They may never do so. I just might have crooked vision on this one, I might be just stupid wrong. After all, I ain't no marketing specialist.

The part of this conversation that I do feel pretty comfortable with, feel like I know something about, relates directly to the ArtPlex building and tenants. I feel that there is something good brewing here. Right now it's understated and simmering. But there is an interesting bunch of smart folks here doing good work. Collaboration and cooperation is happening, people are talking and things are getting moved around in some good ways.

This ain't a scene yet, maybe it won't have to go that far. It is beginning to feel very much like a connected community of artists and professionals. The thing is, some of us here in the building really want and need ArtPlex to take-off more as an arts destination, a place of culture and commerce.

Sitting right here in the middle of this downtown commercial corridor, it would seem that we might actually get a clue on how to take advantage of our situation. But I'll have to revisit this issue later. I'm sure a few months down the line I'll be able to give an upbeat update on our scene building enterprise. In the meanwhile, come by and check this joint. ArtPlex at 1705 Guadalupe.

Scene and Not Heard

I've been in a lot of conversations lately about Austin's music, arts, and culture scene(s). Smart folks sitting around pontificating on Austin's arts scene -- or lack thereof. Where is it, who does it include, how can I find it, how much money is there to be made, how much money is there to be spent?

"Goddamn! How hard do I have to work to get 'dat money?" they all seem to ask.

"Okay, okay, can I go ahead and get my money now? See, 'cause I need it more than the other guys. You know? I do work real hard for art, it ain't no hobby of mine. In fact, I am constantly suffering for art. Where 'da money? I'm suffering for the cultural quality of life for all of the rest of you Austinites. I needs my money now, so's I can stop suffering for yo' tired, culture-less ass," completes the statement for some of them/us. Jaded, bitter, cynicism sets in after a few years of this stuff.

These are the concerns. For some of us, these are the real-life questions.

Everyone in these conversations seems to have the same questions. All of us are wondering, sometimes to the point of appearing clueless, desperate, tired. Hoping. Maybe we do this work, join those forums, panels, do those interviews, get in on those telephone/email conversations, lobby the Arts Commission and City Council because we think the next guy has the answers to solve our problems. Unfortunately, a lot of folks continue to have the same questions. Few of us have the same answers. "Us," in this case, is/are the folk who are in the arts, really, for primary reasons other than commercial ones. But we gotta eat, too.

That said, why do we do this stuff, in this town, in this society where we don't really have much influence on the way things go?

Although, I must admit, I am phrasing these comments in a manner that my country-ass-self might state them ('dis and 'dat and all), the reality is, all of us nonprofit arts folks to some degree or another have the same concerns. From the symphony to the lowly avante-dance group that moves too slowly for some folks to really call it "dance." We all have to deal with some kind of uneasy marriage between culture and commerce.

We need to get paid. We HAVE TO pay. We don't really want a straight job. That ain't us. Know what I'm sayin'?

The real questions are: who are we, who are our audiences/potential audiences, how do we find each other in this city, in an economy that really is not about culture as much as it is about commerce? And, if we find them (patrons, audience), why should these folks pay us to do what we do? These are the questions.

I have had these conversations with any number of "arts professionals" over and over for the last ten years of my so-called professional life in this so-called arts scene. The most recent round of gabfest sessions happened to be with and among other Austin black arts professionals. The issues are still pertinent, still are real, still unresolved. And, regardless of the general commonality that lies beneath the surface of the issues, this stuff continues to be extremely real, extremely urgent for many of us who deal with the art and culture of African America.

Have you looked lately at the demographics of Austin?

In a city with less than a 15% population of black folks, how does one find the audience, energy, and resources to consistently put black art and culture out there and still have hopes of finding the support necessary to keep up the effort? Is there a critical mass of black folks, with interest and money, who will actually rise to that level of support necessary to "keep hope alive" for African American arts and culture in Austin? And, are we less "Black" if we do (or have to do) it with a lot of support from white folks? Are we selling out if our theater and dance performances, blues, jazz, and gospel music shows have audiences composed of 80% white folks? Or is that scenario simply Austintatious (read: American?) reality?

Do we stop doing what we do, stop putting these traditionally black cultural forms -- for instance, touring jazz -- out there because there really isn't the support within Austin's African American community to pay for this art?

To you, Mr. and Ms. Average Austinite, these kinds of issues might seem more silly than anything else. To many of you, any comment on the importance of diversity or representative American culture equals comment on race equals comment that is inherently racist or paranoid or both equals legitimate reason to turn a deaf ear to the conversation. To those folks this might all seem as benign as the murder in Jasper. And if these statements cause you discomfort for those same reasons, rest assured that my rhetoric swings, broad and fast, back and forth, across racial lines and interstate highways. Race is very important, in a lot of conversations, but this is about Culture (most definitely with a capital "C"). Austin, cool-hip-groovy mecca that it is, shouldn't even have to think about this kinda thing. We cool, right? Or, do I underestimate this market yet again?

Let me tell you. There are folks here in Austin who think of this kinda stuff each and every day that they go to work. And if they do cultural work in Austin -- with a-feelin' -- they have to go to work everyday, 24/7. And they (we) HAVE TO think on these issues EVERYDAY.

Okay, so there really are not enough black folks alone in Austin to (financially) support a full season's program of multidisciplinary African American arts events. Do we just assume that those folks who do recognize the cultural importance of this stuff are worth the effort and continue our work? Do we continue to produce events for other artists, presenters, producers, and the faithful very familiar few, and just consider that as our lot in this Capital City? Do we keep asking those other folks, who generally don't show us support, to finally join us in celebrating this rich cultural stuff that is ours -- all of ours -- or do we go after new potential audiences, these new high-tech, government and education Austinites?

verwhelmingly, the answer to all of the previous questions is YES. Yes. We, from the Lyric Opera to Cosmic Intuition to the Elephant Club to Frontera to the Creeps to ProArts to Mexic-Arte to Salvage Vangarde, have to keep plugging at it. And, perhaps, we may find that the brightest prospect for the future of this "scene" just might be those New Austinites.

After all, this is the '90s. And, I don't know about you, but to me this 1999 Austin looks and feels a whole lot different than it did twenty years ago when I was a New Austinite.

By the way, if any of you New Austinities want or need a cultural arts organization with which to become involved, DiverseArts extends open arms and warm hearts to you. We want and need -- and will work for -- your support.