AFABW: What role do you believe the artist has in the world today?

Robin: The artist plays a crucial role, I believe. The truth of it is, as L Ron Hubbard says, “A culture is only as great as its dreams, and its dreams are dreamed by artists.” Think about that. Is it really true? Sometimes one has the image of an artist alone in an ivory tower or garret, feverishly creating his art on a very self-absorbed basis. And certainly there is the element of very individualistic creation in great art. But the truth is, I believe, that art contains the crucial element of quality of communication—does it reach people? And great art does and always has. So now you move into the area of the impact it has on others, and we know this can be huge. Britney Spears bares her belly button, and a world of young girls do the same. On a more spiritual level, the Beatles get interested in Eastern philosophy, and there is sudden wide interest in this area.

The artist can have an almost infinite influence on people. Fashions, ideas, philosophy, etc. An artist pro drugs will have an influence in this direction on his audience. An artist believing and singing about spiritual values will have a similar influence.

So, yes, I believe the artist’s role is crucial to the making of a better world. I believe he can have a great influence for good in the way people approach their daily lives, and can have impact on the broader ills of man such as war, financial hardship, poverty and so on. And all of this on an aesthetic level—by dreaming the dream of what could be. I do not believe in censorship of the arts, but I do believe any artist needs vitally to take these factors into consideration in what they do.

AFABW: You have been helping to create arts festivals every year since 1995. Why do you volunteer so much time to helping artists?

Robin: We as professional artists need to have practical ways to better conditions. I believe we can do this by helping to nurture the artist in every one of us. This can be done by the professional helping others achieve their artistic dreams, something that these festivals make a priority. In line with this, professionals themselves can improve and broaden the scope of what they are doing, as well. And at the end of the day I believe we, as artists, can, and indeed, must help create a culture (within groups, nationally and globally) of which all can be proud.

AFABW: What inspired you to get started as an artist?

Robin: I just always had this passion for music—helped by the fact that both my parents played instruments, so I was always surrounded by it and participated at an early age. I started in choirs at age 8, then piano study at 11.

AFABW: Could you mention some of the benefits an artist might gain from participation in an art association or art group?

Robin: There is always something to learn, and I think that is part of the role of a great artist—to keep on with the adventure of new territory, which always means learning. And that is one benefit in the interaction of artists. But beyond that, I believe that artists, while individually creating, need to work together in areas that promote artists, protect their rights, and forward mutually held aims. And through this we will create a safer, more aesthetic environment, which is to the benefit of all.

AFABW: Why would you recommend that an artist participate in an Arts Festival?

Robin: I’d point out that the arts festivals I’m involved with, and indeed many activities of Artists for a Better World, do not just involve showcasing artists. They put emphasis on hands-on artistic production. And I believe that is a key. I have found it incredibly rewarding to work with others, and to feel that I have helped others in a very meaningful way. I think I have probably read at least one testimonial from every arts festival attendee (probably thousands in all) where I have been an organiser—without fail they talk of what rehabilitating their own art ability has done for them, and these successes are often life changing on an individual basis. Any artist should be part of this type of activity I believe, and this involvement will put a zing in your step and a gleam in your eye (whether professional or beginner)!

AFABW: You just held another South African Arts Festival earlier this month [March 2004]. How did that go?

Robin: This years South African Arts Festival was the biggest ever and we are now reaching to a number of other African areas. A major feature of the Festival is the number of artistic activities and groups planned for the future throughout Africa. Those attending included artists from Kenya and Nigeria, with artist activities being launched in Zimbabwe and Swaziland. Africa is the second largest continent on the planet, with 54 countries, over 800 million people, and over 800 main languages. So prospects are almost infinite!

The Festival ran over two and a half days, with stellar concerts, shows, theatrical events and two days of very productive workshops. I was personally extremely pleased with the festival, being able myself to help produce and perform, as well as to help look to the long range bright future ahead of us!

AFABW: Is there any one aspect of your life—music, charitable causes—that makes you the proudest?

Robin: In my earlier years I would say I tended to be pretty selfish as an artist. Now I try to balance that, and give as much as I get. And I’m achieving that to a far greater degree, which when I look over it makes me pretty happy.

AFABW: Any advice you have for artists, of any genre, who wish to create a better world through aesthetics?

Robin: I guess I would say that this is a very worthy and important goal to have! So pour coal on it, don’t allow others to tell you different about what you’re trying to do, and keep yourself creative and cheerful about what you do. Don’t believe for one minute that you have to compromise to be a wonderful and effective artist, whatever comes up. And learn every day so you can be increasingly even more effective in what you do. I would also add that any artist can expand their personal and artistic zones by going into a Celebrity Centre, or for that matter, any Church of Scientology, and asking about the different studies that are available to improve any area you feel could benefit. There is practical information on every zone of interest to an artist—you’ll never look back!

AFABW: Robin, you have been the composer and/or producer for many dozens of records, TV shows and films in England and South Africa. What do you attribute to your success?

Robin: I like continually to think of new ideas and projects, sometimes as outrageous as you like. I find I am enthusiastic about these ideas, and within the bounds of what a particular company or producer is interested in, this enthuses others. It’s a joy to be working on something new and creative on a pretty continuous basis.

AFABW: International interest in World Music* has been expanding, as evidenced by the growth of record sales over the past years by artists like Deep Forest, Enigma, Adiemus, Enya, as well as interest in world music by such artists as Peter Gabriel and Sting. It seems a lot people are catching on to your long-time passion in this genre. What do you see for the future of World Music?

Robin: World music has become something of a catch all phrase for anything that has some “ethnic” flavour and in a way has become broader and broader as years go by. As technology has spread over the planet, as recording has become easier to do in even the remotest areas, so the many different styles and the richness of widespread cultures has become more accessible. With this have been a staggering number of projects mixing different styles and so on. So I see this as an area that will keep mushrooming, creating sub areas and styles of new ethnically flavoured music for an infinite potential for the future.

AFABW: The record industry as a whole has been going through changes as a result of worldwide interest in online music. Any comments on the future of the record industry?

Robin: The record industry definitely has to change—and is doing so—to provide what its potential customer needs and wants. Free music leads to no exchange with the artists and composers, and that is self defeating—it can only stifle creativity for the future. So it’s a case of providing exciting music viably and accessibly to all people, and I think a way will be found to do that. In the meantime any record company not prepared to meet the challenge, which is also one of nurturing new talent and creativity, will go the way of the dinosaur.

AFABW: How do you view the role of a record producer in relation to that of a musician or composer?

Robin: This is a very good question! A record producer by definition is producing the record, but of course it is the artist who is creating the music. In the real world there are many different producers with as many styles of producing. Some producers will be very hands on, others very laissez faire. Some producers are criticized because they alter the work of the artist, others because they do little to enhance things. My view is that a good producer understands what an artist is trying to communicate, and brings his expertise to bear in order to enhance that, without perverting, criticizing or altering what the artist is trying to put across. In this spirit he should work closely with the artist who should be very happy with the production. In order to do this the producer has to know a lot about the target audience and what is being attempted, and have great communication and creative skills himself.

AFABW: Any parting words?

Robin: I love what I do and any artist or other professional in the field generally does too. It’s a wonderful world. Like any art, you are your own master and can create as widely, beautifully, wildly, massively, delicately as you wish, and in any way you wish. It is your universe to create, and with dedication to your craft it can be an amazing universe you can bring to others who hopefully can enjoy it as much as you do.

AFABW: Robin, thank you very much!

* World Music – Music from cultures other than those of Western Europe and English-speaking North America, especially popular music from Latin America, Africa, and Asia. (American Heritage Dictionary)

David Pomeranz’s multi-platinum selling songs, recordings and concert performances have delighted and inspired millions all over the world. He has written hit songs for the likes of Barry Manilow, Bette Midler, Kenny Rogers, Richie Sambora of Bon Jovi and scores of others. David was interviewed, via telephone, from his home in Clearwater, Florida on Feb. 7, 2004, by Artists For A Better World International (AFABW) President, George Alger.

AFABW: David, any advice you have for artists, of any genre, who wish to create a better world through aesthetics?

DAVID: Create from the place that is really big and encompassing and spiritual and beautiful. Write from the “you” that you really are, as much as possible. I know I risk sounding like some kind of cockamamie “New Age” guy when I talk like this. But really – I’ve found to really make a better world – one which is mired in complexity, losses, sadness, anger, apathy and worse, “you”, as the artist, need to stand there as the world, and communicate as the full-blown God-like person that you are and most have forgotten they are. We are spiritual beings and it’s something the Media doesn’t usually like to promote. Why not create from that place that is natural. It’s not natural to be cynical.

Television and Newspapers pump tons of glib, jaded, flip, “been-there-done-that”, “seen-it-all-before” viewpoints into our homes. Some of it might be entertaining, but it doesn’t make the world better. It’s just more part of the “problem” instead of the “solution”. In my opinion, an artist’s job is to be part of the solution! That doesn’t mean that you have to write only about “great”, lofty ideas. You could write about burnt toast or coconut ice cream. But you just do it from this loving beingness that you are. People are basically good: bright and playful and kind and appreciative of beautiful things. We are extraordinarily powerful and vital creations. For thousands of years the major religions have been telling us we are made in God’s image. Well, that ’s us – made in God’s image, so why not get on with it.

AFABW: What role do you believe the artist has in the world today?

DAVID: Two things. First, to keep the spirits high so that “hope” is the prevailing view, and not death. When hope is the prevailing view, other work can be done, such as the nuts and bolts of administering the work of this world and improving it – things like handling World Hunger, preserving and improving the environment, knocking out Psychiatry and the rest.

In our current world, the Media is sounding the death knell for civilization. People get inundated with the view that the world is a dangerous place and inadvertently perpetuate it. It is the artist who presents another view so people can realize that there is hope – and with this view, he can really cure things.

The other thing I think it is incumbent on every artist is to become a celebrity in their field and set a good example. If you can leave a person feeling bigger and better – even just by having had coffee with them – leave that person remembering that they are extraordinary in some way, then the artist has done his job.

AFABW: Should a songwriter consider commercial potential or ignore it while creating music?

DAVID: Commerciality just means that the art is liked and wanted by others. If the writer is really proud of what he’s done and knows something about writing (having the experience to know when a song is rambling or boring or if a musical line is too complex to be remembered, etc.), if he writes about true things in a unique and honest way, chances are, the listener will respond. The technology of art is only there to help in communicating to the recipient. When you write a good song and you get your message out to a lot of people, what you get back is money, which makes it commercial.

Writing, to me, is a simple affair – not unlike a kid sharing a little truck or a rock with their parents. If it is honest, emotional, or funny, or clever – if it’s fresh, if it grabs your attention – it will connect with people. It will relate to people. It’s all communication. It’s from “me” to “you”. It’s a beautiful process.

AFABW: David, as a songwriter, what inspires the direction your music takes?

DAVID: Writing for me is often from inspiration. This includes how I personally feel about life, love, politics, or whatever.

Another kind of writing is on “assignment.” I have been doing a lot of work for the Theater recently. There, I get a chance to write Music or Lyrics for a character in some dramatic context. It’s not me, directly, but I still have to find enough that’s true to me and particular to my view. Otherwise, like any art, it’ll come off phony and contrived. Even on assignment, even if I’m writing as a villain, there’s got to be a big chunk of me in it.

For me, I pay a bigger personal price when I write from my “heart.” But ideally, you want to move people: to tears, to laughter, to action, to love. You want people to listen to your song and feel they are better for it – that it was a worthwhile 3 ½ minutes spent. It doesn’t necessarily have to be deep. But it has to contribute some life to that listener.

AFABW: Any advice for an artist trying to make his or her way into the music world?

DAVID: Know who you’re friends are and who are not your friends. There is a study course I took in Scientology where I trained myself to observe people who I can trust and who I would be foolish to trust. It has protected me a lot and short-circuited a lot of grief I used to have all the time.

Be careful of advice you get from people. Consider the person giving the advice: Is this person a “friend” that is giving you the advice that makes you feel less certain or uncertain of yourself? Or, is it advice meant to inspire you? Is this someone who seeks out the best points about your art? Who might also say “tighten this up” or “expand this”? In other words, is this someone who is REALLY trying to help? It is vital that an artist know the difference.

This could even mean the difference between carrying on and giving up as an artist. It’s life and death to know who your friends are. I recommend the courses in Scientology that deal with this because they really helped me.

There is a formula that the founder of Scientology, L. Ron Hubbard, observed. It’s called the “Non-Existence Formula” (Point #3 is: “Discover what is needed and wanted”). If one does this, it instantly puts one in the game. Instead of trying to get people to take your project or product, you find out what they need and want from you. Giving them what is needed and wanted is the most important thing.

Oh, and be professional. Always do a good job – a real good job. Always deliver better than expected. That word gets around quickly, whether it’s good or bad.

AFABW: David, as a multi-platinum singer/songwriter, and a tireless advocate of social betterment through your many benefit concerts for good causes around the globe, you are a model of using aesthetics to create a better world. Have you always been interested in helping to improve conditions in society?

DAVID: Thanks for saying that. Yea sure! Ever since as a little baby, I would blow out candles on my Birthday cake and wish that everyone in the world would be happy. I have always wanted to be useful. My biggest goal as an artist is to be useful.

AFABW: Your song-writing and recording successes have contributed to the influence you have in supporting groups that are creating positive change in the world. How do you resolve where to lend your name and support?

DAVID: We are all so busy. We have family and work and things we want to do. I hand pick the organization and the people involved and find out what are their true intentions. I like to work with organizations that get results and not just talk about it. There is one group called “Results Educational Fund.” They lobby for hunger-related issues around the world. They find out true data: “This is what it will take to feed Somalia.” “This amount of money.” “It’s needed at this time.” They get bills passed. They get things done.

I look carefully at the individuals in the organization. Individuals can sometimes get mired in the complexity of their own field as well as its politics. I look for people who are dynamic and get the job done anyway. I look for people who are naturally good and like people. I support the Citizens Commission on Human Rights. I support Narconon and Applied Scholastics and The Way To Happiness. These are all L. Ron Hubbard social betterment programs, but that’s not why I support them. I support them because their programs work. The people administering them don’t take “No” for an answer. The people and the groups are effective.

AFABW: Any parting words?

DAVID: It’s an artist’s “intention” that the public receives. You can tell an artist’s intention by how the viewer feels after he’s encountered his art. Does he feel good? Does he feel bad?

I’m not saying an artist has to be all “sweetness and light.” On the contrary, you want to do whatever it takes to get the person out of the sleep. Does the person come out of it? Does the person, as a result, give something to his friend? Does he tell his mom he loves her after he hears the song? Does he make love to his wife after seeing the movie? That’s the test. If he comes out cranky and perplexed – that didn’t work. Just look at his face.

Get artists to make things better and join you. Most artists would want to join Artists For A Better World.

AFABW: David, thank you very much!

International Art Day, a day dedicated to the appreciation of the arts, art collectors, arts organizations, arts supporters and artists of all disciplines, was founded by Artists for a Better World member Becky Mate in 1998. It is a holiday, like Valentine’s Day or Arbor Day, but instead of hugging your sweetheart or hugging a tree, you hug an artist! Since 2006, the various Mayors of Glendale, CA, have proclaimed the second Friday in August as Art Day, and Glendale the Home of Art Day.

So it’s official, for starters, in Glendale. Art Day has been celebrated on a grassroots basis in isolated spots in England, France, Russia, Malaysia, Brazil, Belize, Colorado, New Jersey, Texas, Hawaii, Canada, Puerto Rico, etc.

Now I realize, all you creative types, that I don’t really need to tell you how to throw an Art Day party. Invite artists, poets, writers, dancers, actors and musicians. Encourage them to share a little bit of their work. Arrange for food or have it be potluck. Voila, you have a great Art Party!

Simple and fun.

With this article, I’m letting you in on a few secrets that will make your great Art Day party into an awesome one. There are 7 large hats (job titles and their duties) for you and yours to wear that make the difference. Each has 3 smaller hats, making 21 things to make sure get done. Enough with the math. The last three are the most important, so I’ll list them first.

PARTY PRODUCER HAT

Find a good location for an art party, arrange refreshments (don’t forget the chocolate,) have a party and leave the place cleaner than you found it.

SUB HAT #21: FOUNDER’S REPRESENTATIVE

Does this mean you need to invite me, the Founder of Art Day, to your party? No (but you may if you like), it means that at some point in the party, you need to remind everyone that the Art Day holiday is not a single party, but a worldwide grassroots movement to appreciate artists and patrons, and to bring funding into the arts. Your guests are part of a greater whole; they are making history. You are establishing an Art Day tradition in your neck of the woods.

SUB HAT #20: ARTS ACTIVIST

Get ready to do battle against those who wish to destroy the arts and artists. Forbid art criticism at your party. Glare ferociously at anyone who intimates that art is frivolous or that creativity comes from the murky subconscious (whatever that means). Oust anyone who is antisocial, trouble or a pain. Make sure that any needed permits are gotten and laws are followed. The Arts Activist is there to create an environment where it is safe to be an artist.

SUB HAT #19: THEME SETTER

It makes for a better party to benefit a greater need. One year at my Art Day party we had a small silent auction to raise funds for a new theatre in town. Another year, we sent Art Day greeting cards to various consulates — pick a country, any country. Another year, we awarded the winners of the Randy the Handyman Artists and Writers Contest. Another year we celebrated the fact that the gardens of my apartment building were the historical site of the very first international Art Day party — complete with a homemade plaque. Set the goal of the party.

TASKMASTER HAT

Gets people to help with party tasks, as in “You, hang decorations. You, keep the food table stocked and neat. You, don’t do that; come over here and have guests sign the guestbook.”

SUB HAT #1: TASK ASSIGNER

Everybody helps. Let them know what to do and how to do it. You’ll have participants delighting in contributing their efforts and talents to such a marvelous party.

SUB HAT #2: CHIPPER SKIPPER

He makes sure everyone is happily getting along with lots of communication, such as audience experiencing the art and performances, and people discussing the arts and Art Day. As well as engaging that lonely person in conversation, you can also have the Chipper Skipper mail or email the invites, and man the phone for people calling for directions, etc. If he’s on his toes, you’ll have cheerful dialogue among participants.

SUB HAT #3: THE ENFORCER

I had a friend who felt that non-producing artists were treasonous to themselves and to society for denying their talents to the world. An actionable offense. Perhaps those artists are mired by clutter, or don’t really know who they are as artists or are in doubt between whether to do art or a “day job.” Or, they’ve been hanging around people who subtly or openly chastise them for doing art or who put down their art. Besides tracking attendance, media attention and other statistics, the Enforcer gets artists creating again, and brings about artists who are willing to be artists and do art.

PARTY PUBLICIST HAT

Lets people know there’s a party and encourages them to RSVP.

SUB HAT #4: PARTY PROMOTER

The creativity begins with the invitations (mailed or emailed), and extends right up to the party with signs letting people know they’ve arrived. I’ve made Art Day mugs, t-shirts, buttons and bags. For extra fun, buy or make art greeting cards, and put “Happy Art Day” inside. (Or buy some ready-made.) You can have the Chipper Skipper send invitations in the cards, or send out cards by themselves, or give the cards to guests to send to their beloved artists and patrons. The Party Promoter produces invitations and signs and other things that generate a desire to participate.

SUB HAT #5 ART STUFF GUY

Did you know during the month preceding Art Day, and on the day itself, it is traditional to wear jewelry and clothing that promotes the arts? A tiny canvas necklace, a paint pallette pin, an Art Day button, piano suspenders, an arts festival shirt are just some of the things that remind people of the arts. (Think snowmen, Santa, and reindeer paraphernalia, along with creches, in the month before Christmas.) It is true that you get what you promote, so promote the arts. Another way to promote the arts is with books, from how-to books, to books showcasing the masters, to a homemade coloring book about daisies celebrating each of the arts on Art Day. During the party, the Art Stuff Guy gives out (or sells) stuff and he ends up with people who understand Art Day and who promote the arts.

SUB HAT #6: THE SEDUCTRESS

It takes some bread to throw a party. A breadcrumb gets you an intimate party, a giant loaf of bread gets you the party of the century. Whether you feed loose change into a piggy bank that you break into each year, or whether you solicit corporate donations, the objective is adequate funds to have a grand party with some left over for next year. The other ingredient for a party is lots of guests, which takes personal contact in order to bring attendance up to or surpassing your quota.

PARTY SUPPLIES GUY

He’s in charge of buying and keeping the party gear.

SUB HAT #7: PIGGY BANKER

Collect up and stash the Art Day funds in a safe place.

SUB HAT #8: THE SHOPPER

Whether you go with the red-blue-yellow basic colors of the palette, or some other creative direction, party decorations are a must. Party supply stores will yield music and some visual arts decorations. Some may have to be made out of construction paper or imagination. Buy balloons, chairs, fluttering banners and streamers, banners announcing an art day party, tables, chocolate fountains and anything else that says “art.” At my parties we’ve supplied the hot dogs, hamburgers and basic drinks to go with the potluck. Fancier parties may wish to hire caterers, or those who make artistic food. The idea is fun party decorations and food purchased within budget and delivered to the party site.

SUB HAT #9: RECORDKEEPER

Keep the receipts and any records safe, store the party decorations for next year, and keep the press book, if you have one.

MASTER OF CEREMONIES

It is in the hands of the MC to increase the art ability of the culture, one small party at a time.

SUB HAT #10: PARTY OPS (OPERATIONS)

Hangs the party decorations, signs, balloons and sets out Proclamations of Art Day by the Mayor, etc. and takes them down at the end of the party. Party Ops ensures the guests are welcomed, fed, entertained, appreciated, happy and uplifted. When this hat is successfully worn, there are delighted guests.

SUB HAT #11: DIRECTOR OF CREATIVITY

How does he fire up an artist’s creativity? He encourages artists of any discipline to wear their hat, such as a visual artist, dancer, writer, poet, musician, flower arranger, gourmet chef, and so on. He directs projects that help promote the tradition of Art Day (such as mailing Happy Art Day cards to consulates, or putting together poetry books and handing them out in the neighborhood.) He has arts and crafts for children to do, including those, such as coloring an Art Day coloring book, that let the children know there is now a holiday for the arts, Art Day, second Friday in August. He educates people on the valuable role of the artist as a creative cultural leader. His job well done would mean parents wanting their children to go for a higher calling than doctor or lawyer — they should be proud to be among those rare and beautiful creatives, the artists.

SUB HAT #12: DIRECTOR OF ARTIST APPRECIATION

This could well be the most important hat of the entire party. I learned about this from a fellow who ran a weekly arts group called Creative Artists Forum for Expansion, or C.A.F.E. At the group, after going around the room finding out what each of us did in the arts, measuring our productivity against the week before, and stating plans for art production in the coming week, we’d share our art with the rest. Bruce Gilham, Sr., was the best at admiring artists and their works. What you say matters after an artist presents their soul-wrought poem, their imaginative story, their visual vision or their heart-felt song. What would you like to hear after your presentation? You don’t want syrupy false praise; you don’t want scathing criticism; you don’t want to be brushed over by the Master of Ceremonies who goes right on to the next act without so much as a “thank you.” Just the fact that you are asking guests to bring and present their art carries a certain amount of appreciation, whether they are knee-knocking novices or consummate pros. Give them a “Wow that was great!” (if it was) or “Very impressive!” (if it was) or “Well done!” You get the idea. It is best to put this hat on someone who can truly see the creative intent and beauty in just about any art. The person should love his art “live and fresh,” meaning unfiltered and unprocessed by popular media and entertainment outlets. At a party, you may have guests at the top of their game, or budding artistic overtures. The goal here is that each and every artist knows their art and their artistic efforts are welcome, enjoyed and valuable.

HAPPY CAMPERS DUDE

This is someone with an eye to quality control, who fixes what needs to be fixed, and who rewards what’s going right.

SUB HAT #13: OVERSEER

This person would notice that someone mistakenly put the giant penis art in the middle of the children’s crafts area. He would spot artists who aren’t currently creating but who want to be. He sees where all is well, but notes where there is room for improvement. He goes for a smooth-sailing party.

SUB HAT #14: THE FIXER

He’s the one you’d send to move the giant penis art out of the children’s area, or to troubleshoot the non-arting artist. He’ll bring the party back on the rails.

SUB HAT #15: PATTER ON THE BACK

There’s nothing like putting something in writing to make it so. This person would go for getting an Art Day Proclamation from the local Mayor, on the basis that their town should honor Art Day as it is home to many wonderful artists. It doesn’t hurt to ask. I have received written praise of Art Day from a fine arts school with over 20 locations, from a US Congressman and, by email, from several in other countries. Last year at my Art Day party, I gave a pat on the back to those who helped me greatly over the years by giving them Certificates of Appreciation in cool Art Day canvas tote bags. There may be stellar achievements of artists or patrons or supporters at the party, which should be touted in front of all the guests. Champion Art Day. Champion those involved in the arts.

HOSTESS AND HELPERS

Greet the guests and make them feel as welcome as family, for you are among the largest single family on earth, outside of the family of Man — the global family of artists of all disciplines.

SUB HAT #16: PR AND MEDIA

Let the world know about Art Day and, specifically, artists participating in Art Day. One year, an article in the local paper mentioned 7 artists at my party. This is good publicity. If you have a clever PR person, they will find ways to publicize artists by utilizing their involvement in Art Day festivities, social activities and events. Document your party by inviting a photographer and a press release writer. Keep a press book. You want the word spread about this super-cool holiday and those fabulous artists who observe it.

SUB HAT #17: SIGNER-INNER

Have people sign in so you can contact them, such as to survey them to improve the party for the next year or to invite them again. Encourage them to share their art. The Sign-In sheet can not only collect contact info, but can ask what they do in the arts or for their favorite branch of the arts. Signing one’s name and writing down one’s art form can be empowering, especially to novice talent needing nurturing. A further step, if you invite the whole town like I do, is to make a nametag for each one, also with their arts specialty. Nametags can enable like-minded disciplines to engage in conversation, and lends itself to being a party where the arts are freely discussed. A friend of mine didn’t dare admit he was a visual artist to those at the corporation where he did computer programming, but he’d open up among others with the finer sensibilities. Many folks have painted a little but don’t consider themselves an artist. Let them know that anyone who has done art is an artist. We want welcomed, logged-in guests who are, with a light touch, recognized, acknowledged and appreciated for their role in the arts.

SUB HAT #18: MAGIC PICTURE FRAME

Santa, for the arts, takes on a new square look. Think of a large, ornate picture frame minus the painting — a horn-of-plenty which pours out gifts of art or art supplies. He can be an idea or a real physical frame, perhaps with added eyes and eyebrows.

There is a gift-giving side to Art Day which is designed to bring funding into the arts. Whether it is giving baskets of art, sharing theatre tickets, exchanging hand-made art or a collector buying a painting for himself, art changes hands on Art Day. There is a magical side to Art Day, because an artist, using imagination, creates something from nothing. (If you don’t like the word “magic,” then think “spiritual,” as in celebrating The Creator who bestowed us all with creativity in His image. The true magic of Art Day comes from the motivating force of creativity within us, a spiritual quality that we make manifest with our art works.)

In essence, the Magic Picture Frame is for kids. A favorite at my party is the Art Hunt, which is like an Easter Egg hunt, except we hide art supplies, small art, CD’s, books, videos, statues, and so forth. I take the kids aside and explain to them that each year the Magic Picture Frame hides art for the kids, and the story becomes as embellished as time is needed to complete the task. Yes, make it up as you go along. Each child is given a basket, or a cool Art Day tote bag, and they are sent out to forage for art in the garden.

People can be deputized as Art Day Ambassadors by the Magic Picture Frame (or the PR person.) I asked a gal, headed for a school reunion in the Philippines, to tell at least 5 people about Art Day, which she did. Even those who can’t make it to the party can celebrate Art Day in their own way wherever they are, and can let others know the holiday exists. It is a sincere wish of the Magic Picture Frame that every civilization on planet Earth celebrates their arts, creativity and culture on the same day each year, Art Day, the second Friday in August, a day of global peace and happiness. (Or at least that weekend.)

Have a Happy Art Day!

Recorded history becomes more and more the legend of the Creations of Mankind. Yet here we are, sitting amidst the greatest volume of technological developments this earth has ever witnessed, and do we feel truly creative? The answer for most people would probably be a dull, flat “no.”

How can that be?

Why would so many people come to feel uncreative?

The answer to this is simple: most people have forgotten just what creativity is. They have come to the point where they operate automatically and take certain miracles for granted. A fellow comes in from shovelling the walk after a snowstorm, and reads in a magazine that someone has just built a computer to run an entire metropolitan transit system.

He sighs and thinks to himself that he doesn’t have the ability to compete with all that high-powered ingenuity. He feels a little smaller, a little less capable in a world that appears to be too competitive, too swift and too complicated to understand.

Yet, scant minutes before, he was creating away and never gave himself credit! He made a path appear where previously there was but a drift of white snow. What, you say – that’s not creativity; anyone can do that. I should hope so! Creativity rightfully belongs to everyone.

There are many people on earth today, however, who have forgotten age-old traditional skills such as hand-writing letters to friends, making bread at home, mending one’s own clothing. All such things require creativity, and they are equally as valid as molding space age plastic sculptures or shooting tin cans at the moon.

Creation, unfortunately has recently become something only specialists may do. The old picnic, in which everyone had a chance to be inventive, is being replaced by fast food joints and the chartered tour or cruise where all activity is determined by the cruise director. Singing songs was once a family affair in every home. It has become a rarity to hear families sing together – unless they are also television performers.

This is not meant to be a criticism of professional endeavors. Without professionals in creative fields, there would be no high standard toward which to aspire. But it is a request to refrain from the impulse to perceive the common man as a mere spectator in the world of the Arts – a creative peon forever indebted to the unfathomable “gift” of an aesthetic elite.

We are faced today with a Creativity Crisis. It’s not that everyone everywhere has abandoned everyday inventiveness; but that inventiveness has become endangered because those who still live by life’s common creative pleasures are not being well-enough applauded for their truly valuable state of awareness.

Painting the kids’ nursery, planting a rose garden, serving Sunday dinner for a dozen people – these creative actions are equally as important to life as the writing of a symphony. In many cases it is simple acts such as these that have inspired monumental works of Art.

Civilization is based upon interaction between people. When those people have had their most basic creative functions degraded to “so what?” and electronic gadgets become glorified to the heavens, we’ve entered upon an Age of Alienation, and mechanical responses.

This is directly the other direction down the freeway from the consistently fresh activity of a true civilization. Simple acts of creation in daily life must never be disregarded, but must be held in high esteem in order for civilization to survive. Every person must have an opportunity and the encouragement to use his imagination and the skill of his hands in participation with others.

We must never allow our societies to decline to the point at which only a handful are considered artists. Creativity, like the air and the earth, is the property of us all.

Copyright 1984, 2004 by Tom Fair. All Rights Reserved.

And how do you do that? You need to arm yourselves with a special sort of sword… an incisive saber…a clever cutlass, if you will. You need, quite simply, the quotation. Quotations cut to the quick, because they compress a lot of truth into powerful, penetrating thrusts.

Suppose you’re a playwright, your play has recently opened, you’re at a party, and someone says to you in a whining, somewhat critical tone, “I liked your play, but how do you explain all those bad reviews you’ve been getting?” You answer: “Oh, I don’t pay them much mind. I just remember the words of that great Finnish composer Jean Sibelius:”

“No statue has ever been put up to a critic.”

Suppose you’re a painter, it’s opening night at your gallery show, you’re at the reception, and some intellectual is “explaining” YOUR painting to YOU, pointing out how well you have “reconciled the minimalist ethic with the post-modernist affectation with thematic nihilism.” Your first reaction is to go “Huh?”, but that’s not very articulate; not for you, the consummate conversationalist. What you should do is pull out your broadest blade, get downright ruthless, and quote the honorable Picasso:

“Those trying to explain pictures are as a rule completely mistaken.”

Now please note, whenever you do thrust forth with one of these elegant repartees, for maximum effect, preface your utterance with the quoted person’s name. Here, for instance, is what you should say if you’re a composer, and you’re confronted with that type of fan who has an insatiable craving to know, who insists on discovering everything about your background, which schools you attended, if you were ever influenced by Charles Ives’ Second Symphony, if you ever composed anything for double string quartet–ad infinitum, ad nauseum: “I am grateful for your interest in me, but I am reminded of what the German composer Karl Maria von Weber once said:”

“If a man would know me, let him find me in my music.”

And of course, we mustn’t forget that situation when you are matching wits with an opinionated and forceful debater, who has, somehow, because of prior inattention on your part, backed you into a corner and has you pinned to the wall with his rapier on your chest, demanding that you explain and justify to him your “creative process”– something that he’s convinced is mysterious and complicated–and you desperately need to buy a few seconds of time so that you may gracefully slither away and high-tail it over to the chips ‘n’ dip. In this case, you unsheathe your Shaw–George Bernard Shaw, that is:

“Imagination is the beginning of creation. You imagine what you desire, you will what you imagine, and at last you create what you will.”

Let him chew on THAT while you munch on your chips ‘n’ dip!

I could go on and on, because the world is chock-full of quotable quotes. And as you can see, by arming yourselves with them, if you don’t actually become more wise and articulate, you’ll at least acquire the capacity for appearing to be so, and you’ll be well-prepared for those occasions when all else fails and you find yourselves in the midst of a verbal duel, parrying a thrust, countering with a ripost, or lunging in for an attack.

So seek them out, learn them well, and never fear to use them with the utmost deftness to your utmost advantage. For as that Nobel Prize-winning French novelist Anatole France once remarked:

“When a thing has been said and said well, have no scruple. Take it and copy it.”

(c) 1994 Mark Mercury. All Rights Reserved. www.markmercury.com