My state, Arizona, is facing its worst budget crisis ever. We still do not have a balanced budget for the current fiscal year ($1 billion still in the hole – about 12% of our entire state budget), and we are projecting a deficit of at least $2 billion for 2010-2011. The entire education system – meaning all the public schools, both district and charter -  may need to take a 10-30% cut in terms of funding for the 2010-2011 school year.  In a system where there isn’t much left to cut after 2 lean years, what does a 30% cut look like? And what does that mean for arts education?

•    Larger and larger class sizes. Teacher salaries are the largest percentage of any school budget. If you need to cut the budget, you end up cutting out teachers, leading to larger class sizes. In Yuma, AZ, kindergarten classes are already up to 33 students (Can you imagine teaching 33 Kindergarteners in one space? How about working with them in art class – learning how to use scissors safely, for example, with limited room to maneuver?).
•    Fewer options. In high schools, fewer electives might be offered. In order for a class to “make,” a higher number of students will be needed. Classes with a lower number of participants will move off the scheduling calendar entirely. This will certainly include arts classes; it may also impeded honors arts classes for the dedicated arts student.
•    Loss of programs entirely. Some budget-minded school district officials and school board members may see arts as an entire program of study to cut in times of budgetary distress. These folks most likely are arts friendly – they are just trying to balance their budget and do so with the least harm to the school. They may not understand how the arts support the entire school, let alone an individual student. They may also think that students who are interested in music or theatre can find these offerings (and afford them) outside of the public school.

In the world of arts education, public education, and arts advocacy, we are at home with many acronyms. In fact, my husband often accuses me of speaking in another language when I attempt to describe my work day to him – and he’s a practicing music educator! I would like to take this opportunity to introduce you to one of the newer acronyms in arts education land – SEADAE.

SEADAE stands for the State Education Agency Directors of Arts Education – in other words, my colleagues around the country. We are the content specialists in the arts located within state departments of education – whether it be AnneRene at the Office of the Superintendent of Public Instruction in Washington, Jamie at the Pennsylvanie Department of Education, or Vicki at the New Mexico Department of Education. In 2004, we began the process of getting ourselves organized and recognized as a non-profit association. And we couldn’t have done it without the support of many forward-thinking national leaders, including Doug Herbert, then at the National Endowment for the Arts, Jonathan Katz at the National Assembly of State Arts Agencies, and Laurie Schell at the California Alliance for Arts Education.

This is my very first foray into the blogosphere. Sure, I Facebook and have left an online review or two, but unlike others straddling the Y and Millennial generations, I am not a dedicated, you tubing, tweeting, social networker. I first heard about 20under40 at the AFTA annual conference then followed a bit of the debate on Facebook. I was excited about the project then surprised to hear the caustic debate over the age factor. Why limit the voices in this project to those under 40?

I’m of the opinion that any age can “emerge” in this field; it’s common to change careers later in life. Professionals of all ages have an important voice in the conversation about the future and reality of this generational shift. But, being the youngest in the room is all too familiar, and can breed a bit of insecurity. Like every young professional, I work hard to hold my own and know that I have valuable contributions to make based on my life experiences. Sometimes I am given the opportunity to contribute; other times I have to put myself out there and see if the field will look past my shorter resume.

There is something very different about emerging in this field because of youth rather than following a new career path; each has their own challenge and opportunity. When exploring my own experience in this field I am struck first by two connected concepts, social capital and mentorship.