AHJ, Vol. 7 No. 1, Summer 1979

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14 Business and the Creative Arts A Mutually Profitable Relationship By Alan B. Coleman Dr. Alan B. Coleman is Dean of the Southern Methodist University School of Business. He has been untiring in his efforts to create an attitude of understanding and appreciation of the arts in our future business leaders. This article appeared previously in the program booklet of the Dallas Symphony Association, Inc. It is printed here by special permission. The relationship of creative arts to business is a large and more profitable one than most of us realize. Moreover it has grown increasingly close and important in recent years. Why should there be a mutually profitable relationship between the creative arts and business? Because there are clear, positive benefits for both the arts, artists, and the profitable and efficient conduct of business. The involvement of the arts in business is, quite simply, crucial to the success of the artist and the businessman. Let's examine why this is true. From the artists point of view Throughout history the arts have always been supported by patrons. The arts will always require patronage, encouragement, and financial support for their successful execution. The traditional patrons of the arts have been monarchs - kings, queens, and princes, as well as organized religions, especially during the flowering of the arts beginning with the Renaissance. After the 18th century art patronage gradually began shifting towards the landed aristocracy and particularly towards aristocrats who combined both political and commercial power. But in the early 19th century the character of political power and wealth began to change substantially due to perhaps the most far-reaching peaceful revolution in world history: the industrial revolution of the 19th century. This fundamental change in productive and technological capability brought with it the ris~ of immense industrial wealth and power. At the same time the 19th century witnessed a beginning decline of monarchy's wealth and influence throughout the world. Thus in the 19th century there gradually began to emerge significant numbers of new patrons of the arts - the successful industrial entrepreneur. As these new industrial entrepreneurs gained economic and political strength they began to replace the traditional role of monarchy and organized religion in support of the arts. This shift of power and patronage continued and accelerated in the early 20th century. World War I hastened the decline of major monarchies, while World War Il laid the groundwork for the emergence of new centers of political and economic power and the creation of large numbers of new independent nations. Major economic and financial power became increasingly distributed towards business and industry as a result of these historic changes. At the same time another major event affecting the arts, artists, and business, began to emerge with explosive force: the rise of technological innovation in communication. This revolution in communications technology, for the first time in man's history, made it possible for creative artists to reach literally millions of persons on a worldwide basis. Improved technology permits widespread dissemination of graphic, visual and performing arts of all kinds. The emergence of air travel permitted artists to move about the world quickly and with relative ease. The development, on a national and then international basis, of radio, and subsequently television, broadened the artists' performing capabilities to reach audiences of international scope and heretofore unimagined size. Most recently live satellite television transmissions literally have linked the artist with worldwide audiences crossing cultural boundaries and opening opportunities for artistic communication on a truly gigantic scale. How many people, for example, recently heard and watched Vladimir Horowitz perform the Rachmaninoff Second Piano Concerto on Public Television with the N. Y. Philharmonic orchestra? Probably millions! Thus the arts and artists now find themselves communicating on an international scale with vast audiences, while the new emerging patrons of the arts have become the business entrepreneur and, increasingly, the modern corporation itself. The capability to reach these large, highly receptive audiences naturally carries important commercial and profit implications. Business organizations have practical concern about reaching large numbers of people to encourage the use of their products and the "sale" of the corporation itself. Increasingly, business leaders, through their own personal and cultural development, have grown sensitive to the happy combination of the creative arts as a contribution to society and the quality of life while simultaneously helping the commercial and industrial mission of business enterprise. This practical business-arts relationship has been particularly encouraged by the individual philanthropic and artistic interests of entrepreneurs who have supported the arts through their own private patronage. And finally, from the artists' point of view, this new partnership with business is highly significant since the philanthropic capability of the modern corporation and the individual entrepreneur is extremely large, pluralistic, and diversified. The philanthropic capability today of the modem corporation, and the successful entrepreneur, far exceeds the capability of monarchs and princes in an earlier age. More importantly, this new base of philanthropic support allows a broader distribution of patronage over a much wider geography, nationally and internationally. The combined potential for support of the arts through the new partnership with business is the most powerful base ever experienced in the history of performing and creative arts. AMERICAN HARP JOURNAL
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Page 20 and 21: REQUIRED READING FOR HARPISTS: ROSL
Page 22 and 23: Scientific Practice by Jane B. Weid
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Page 50 and 51: SKETCHES OF NEW MUSIC by Marion Ban
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Page 60 and 61: Dr. Shirley Meyer Blankenship Artis
Page 62 and 63: WINNING HAND! Iron
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74 IRISH HARP Books, Music, and Rec
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78 CECILE CEO SIEBEN, B.M., M.M. 22
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80 PENNY HOWK BEAVERS, B.M., Michig
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AHJ, Vol. 7 No. 1, Summer 1979

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