The Capital Dance Project recently announced a partnership with the Sacramento Kings and the Kings Foundation to produce their inaugural Sensory-Friendly Dance Performance on Friday, Aug. 25 at Crest Theatre.
Founded in 2000, Music to Grow On focuses on special-needs children and works in 20 school districts throughout the greater Sacramento region. Barth describes music therapy as “the use of music to reach non-musical goals,” which can include everything from communication and motor skills to memory and academics.
Bessie Barth, director of Music to Grown On, offers her insight into the role of music therapy.
Can Sacramento continue to invest in the arts when public budgets remain tight and the economy continues to underperform? Wrong question. Rather, we need to ask ourselves whether we can afford not to invest in the arts. We need to change the debate away from a competition for dollars and toward building an understanding of the many avenues by which a vibrant arts scene complements and promotes robust economic growth in our region.
Art in the workplace is more than cosmetic; it can actually improve employee attitudes, performance, and even the company’s bottom line. This feels almost blasphemous. By definition, we think of “art” and “profit” as two distinct and even clashing concepts, with the unspoken assumption that chasing profits will corrupt art, and that art drags down profits. Conventional wisdom says “art for art’s sake”: Art is not a means to an end, art is the end.
Making a career as an artist is rarely easy, sometimes impossible and usually totally worth it. Sometimes we catch a break and get to skip ahead more quickly than anticipated. Other times we have to put in (very) long hours. Here are a few pitfalls I’ve learned to avoid:
Comstock’s monthly look at the business news in the Capital Region. So what happened in July (and the tail end of June)?
After losing an undisclosed sum both years, TBD Fest (otherwise known as The Bridge District Festival) has incurred blame from investors and rival music promoters for being underfunded. General consensus is that if a festival can’t pay for its talent before selling a single ticket, it’s under-capitalized.
Those who have seen past California Musical Theatre productions of Beauty and the Beast were in for a treat this year: The “tale as old as time” is decidedly new and improved thanks to a recent influx of grant money from the Sacramento Metropolitan Arts Commission.
For creative people across the U.S., the Ghost Ship tragedy demonstrates the tough choices many face as they try to remain in their community while the cost of living climbs.