BY JESS SIMPSON | PHOTOS BY CALEB CHANCEY

What if Birmingham dreamed big, becoming one of America's most artist-friendly cities, working to attract artists and creating policies designed to foster the arts?

Every weekend in the Magic City is jam-packed with a diversity of visual arts, music and dance events. There's always an exciting new concert or festival, and news of local artists receiving national recognition breaks often -- just look at Birmingham band St. Paul and the Broken Bones' meteoric rise.



"If you blink you just might miss something," says printmaker Jill Marlar. "It's happening and popping so fast and in all areas of the community."

That's not to knock the incredible art that has been produced in Birmingham for decades; it just seems we are now at a tipping point for awareness and appreciation.

The sense of momentum offers a fitting opportunity for shining a light on what it means to be an artist in Birmingham and what we, as a community, can do to continually foster a rich environment for creative expression and innovation.



To discuss the challenges and opportunities facing artists today, we brought together a mix of professional creative types: photographers, musicians, performers and fine artists.

Their conversation aims to provide a snapshot in time of our city's cultural environment from a handful of artists living in the creative flow.



A Time for Dreaming



Art's most intrinsic value, the ability to inspire dreams, was on full display during our discussion of Birmingham's creative direction and what the future could hold.



While it's true artists are often consumed with thoughts of the next work or performance -- that is, when they're not thinking about ways to eke out a steady income -- most devote a good deal of creative energy thinking about environments where art can flourish.



"Look at any famous city in the world and you will see that its best features are based on art," says visual artist Veronique Vanblaere. Jazz musician Chad Fisher couldn't agree more, adding, "It can be such a big part of a city's identity. What would New Orleans be without music?"



Everyone is in agreement that for Birmingham to truly become known as an "art city" requires an environment where policy makers, corporate leaders, arts patrons and artists themselves value the transformative power of creative expression and show their support by advocating for artist-friendly laws, publicly funded art projects, events and initiatives that elevate local artists, and opportunities for a diversity of arts engagement and collaboration. Big dreams, certainly, but that's the whole point.



Can Artists Make a Living in Birmingham?



That's a complex question. The answer seems to be yes, but it's not easy. We've heard the joke about the musician who puts $5,000 worth of gear in a $500 car to drive 50 miles to play a $100 gig. It's funny because it hits so close to home for many artists.



Financial experts across the country have begun using the phrase "gig economy" in reference to what many call a revolution of independent workers occurring in the U.S. It's the rise of the entrepreneur. For artists, the gig economy isn't new territory. In most cases, their existence has always been defined by moving from one project, production or commission to the next.



As poet and musician Sharrif Simmons says, "Since we're coining terms, let's call it a 'Frankencareer' because that's what artists have to do: piece together several parts to make a whole."



Living from gig to gig requires mad budgeting skills -- not to mention nerves of steel. The pressure often leads artists to seek additional sources of income. Teaching fills the void for many, not just as supplemental revenue but also as a calling. Still, learning to balance teaching responsibilities with creating and producing new work requires a delicate balancing act that some artists find almost impossible to manage.



And art instructors are far from immune when it comes to economic shifts. "Arts education might be the most visible, although not only, casualty of the

increasing emphasis on test scores as the sole barometer of student achievement," says Create Birmingham president Buddy Palmer, adding that although education and creative careers are changing, he's optimistic that artists will find novel ways to address gaps in the classroom.



Marlar, who teaches art to almost 100 children per week, says she received a wake up a few years ago. "When the economy dipped, enrollment in my enrichment classes plummeted by nearly 40 percent and took three years to recover," she says.



With any downturn in the economy, there's almost an immediate effect on disposable income spent on arts, entertainment and education sending fear through the hearts of artists, prompting many to seek the stability of non-arts sector employment.



For those who choose to stick it out, handling the "business of art" provides more hurdles. Vanblaere experienced this firsthand when she opened Naked Art Gallery. "I had a foolish notion that having a gallery would allow me to make art all day," she says. Instead, Vanblaere found that running the business took time from her creative endeavors and still struggles to fit it all in.



In the case of rapper and MC Shaheed Tawheed, operating within the gig economy means touring and performing as much as possible while also finding time to write and record new material. "It's a balance that requires a positive attitude and an understanding family," he says.



When it comes to schedules, eyes become glossy as artists talk more about the balancing act. Like most of the artists we spoke with, filmmaker Randal Crow juggles multiple projects simultaneously in an effort to always have work in the hopper. Director and actor Carl Dean sympathizes: "I am only able to make a living in the theater because I work in many different arenas of the craft. Directing and choreography are my bread and butter, but I supplement with performances onstage as well."



The phrase "if I am not working, I am not making money," comes up frequently with this group. But everyone agrees they wouldn't trade the lifestyle.



Bottom line, making it as an artist in Birmingham, as in any city really, requires determination and perseverance. And as many artists are quick to point out, programs like the Affordable Care Act, which has provided greater access to health care, makes it easier for most workers living today in a gig economy.



Aside from economics, what are challenges to being an artist today?



With a laugh, dancer and choreographer Mary Foshee alludes to busy schedules when she talks about the difficulty of finding dancers for productions. "Well, everybody has five jobs," she says.



Which leads to the issue of overexposure. It's a topic in which Fisher is all too familiar. He'd like to perform more, but knows that brings the risk of oversaturation. "Folks may love what you do, but 'hometown syndrome' can kick in and you begin to be taken for granted," he says.



As Vanblaere alluded to, another risk is letting obligations zap energy that should be devoted to creative endeavors. At times, it seems there's not much left in the tank for staying artistically fresh and inspired. It can be draining and lead to the fear of slipping into what they call "safe mode:" letting what sells guide what you produce. They worry it's a slippery slope.



But, hands down, the biggest hot-button issue for artists of all genres and backgrounds is donation requests. Birmingham is known as the city of a thousand fundraisers, and artists are frequently asked to donate work or performances.



This group says they want to give back, but not when they feel the cumulative effect of all these freebies leads to devaluing of their work and of art itself. Still, many are timid about saying no for fear they'll be seen as not being engaged in the community or not caring. Again, a delicate balance.



Birmingham's Unique Cultural Environment



"Our local arts scene is indicative of the rich tapestry that is Birmingham -- our culture, history, flavor, sound and attitude," says Dean.

"All of that is found in our art, be it on the stage, an easel or in the notes of a song."



Along with a rich culture tapestry, Birmingham also offers another major positive for creatives: low cost of living. With the cost of housing substantially lower than other parts of the country, artists can find it easier to make a living here, carve out time for creating and find affordable studio space.



Another perk is Birmingham is an easy city to plug into. Simmons describes it as a "frontier town" where anything is possible. Maybe it's the friendliness of our people or the city's just-right size -- not too small, yet not overwhelmingly large -- that makes Birmingham an ideal setting for getting connected. "The scene is not cutthroat or super-competitive considering the level of talent," says musician Michael Glaser. "As long as you work at it, there are opportunities."



During our conversation, the city's venues came up numerous times. The diversity of options is impressive for a city this size, from Bottletree, WorkPlay and Iron City to Ona's, Alabama Theatre and Alys Stephens Center, performing artists feel there is opportunity to gain exposure and hope presenters continue

to spotlight local artists.



Jean-Jacques Gaudel emphasizes the role of the city's arts producers and curators. "They must be willing to try new things and take risks on new projects and new artists," the digital artist says. "It's the only way we can continue to explore and grow as a community through the arts."

Speaking of presenters, it's hard to argue that any city in the country does "festival" better than Birmingham. From Sidewalk Film Festival and Day of the Dead to Artwalk, Magic City Art Connection and Secret Stages, festivals give artists a chance to shine and visitors the opportunity to experience the magic brewing in Birmingham's culture scene.



"In fact, I think the best thing we can do for the arts right now is encourage more innovative festivals that showcase multiple genres and art forms together," says Tawheed.



Working Hard, Networking and Finding Inspiration



For artists who have spent years practicing their craft finding ways to stay inspired is a big challenge. "By the time I reached my early 30s I was completely frustrated and searching for purpose as an artist," says Marlar.

For her, finding inspiration meant going back to art school. It was a decision that led to printmaking and changed her artistic life.



Sustaining yourself as an artist in any discipline requires finding a niche and networking like crazy. "I've had to educate everyone -- businesses, event planners, museums, arts organizations -- about the work I do engaging and empowering people," says musician and drum circle facilitator John Scalici.

When people initially think of a drum circle, they don't immediately realize its power to teach teamwork and encourage dialogue. In this case and many others, the artist must also become marketer and salesperson.



Artists are also growing more accustomed to doing their own fundraising thanks to the popularity of crowdfunding platforms. Personal campaigns have made it easier to connect patrons with artists they hope to support, but many find the self-promotional aspect tricky to manage. Yet they know effective communications with followers is vital. Discussing social media, Fisher says, "In today's world, information spreads like wildfire. It's almost like the information age has brought us back to acting like a small tribe again where word of mouth really is the most viable filter."



Speaking of tribes, developing a support network of other artists who understand your work and offer support is more important than ever. Glaser seeks opportunities to cross paths with other jazz players in order to encourage each other to explore and nourish the art, saying, "There's not much outside stimulus pushing me daily to develop myself as a jazz player, so I need to keep that fire burning."



Like-minded colleagues can certainly help to stoke the creative fire and can also be of assistance when it comes to developing business skills. Artists are usually the first to admit the training they have received in "the business of art," is minimal, at best. With a dearth of structured resources for continuing education, many artists rely on each other to share and learn from mistakes when it comes to finances, public relations and media.



This mutual reliance has resulted in a real sense of community among creatives in Birmingham. "The ability we have to foster growth in each other should never be overlooked or undervalued," says Dean, adding that artists have the ability to lift each other up and, by doing so, raise the recognition level of the whole art community.



Overall, the biggest factor for success according to these artists is hard work. "Making a living as an artist is a very long process that requires a hard head, tough skin and lots of self-motivation," says Vanblaere.



Creating a Vibrant Arts Community: Whose Job is It?



The short answer? Everyone's, according to our group of creatives.



Lamentations about the state of arts education in our schools are nothing new. And, while it's true that arts are usually the first to go when budgets tighten, Birmingham is fortunate to have a precious few administrators and teachers who see the value of creative learning conveyed through the arts and consistently encourage students to pursue creative endeavors. (In February, the city also passed a property tax increase that will, in part, benefit arts programs at city schools.)



Where schools leave off, non-profit groups work to fill the gap. Venerable organizations like Space One Eleven and fairly new players like UAB's Artplay and writing center Desert Island Supply Company carry the flag forward reminding the community of the transformative power of creativity in people's lives.



And, organizations like Create Birmingham (formerly the Cultural Alliance of Greater Birmingham) play a pivotal role in advocating for artist-friendly initiatives and policies and helping to establish support networks.



Birmingham's corporate community has long championed the arts by commissioning works and sponsoring events, with the '80s and early '90s being the heyday of support, says Gaudel. "Corporate support of artists is key, although it doesn't seem to be as prevalent," he says, adding that he hopes it's on the upswing.



Then there's government. Alabama State Council on the Arts carries the torch, providing grant opportunities and developing programs to showcase artists, and the city of Birmingham seems to be embracing the arts as a catalyst for revitalization now more than ever. Everyone we gathered hopes the positive attention of many recent art projects will galvanize support for visionary new policies.



Lighting designer and actor Christophe Nicolet references Oregon's "Percent for Art" policy, where 1 percent of revenue from state construction projects goes to fund public art. Similar programs are the norm in his native France and are now being discussed as a way to develop distinctive creative identities in many U.S. cities.



But the artists are quick to point out that responsibility for fostering a conducive environment for the arts also falls squarely on their shoulders. Artists must take the initiative to use their voices and work to help each other to succeed. "The creative community keeps things percolating," says Marlar. "We have more of an impact when we're supporting each other and engaging in honest conversations."



There's no greater example of artist support networks than maker spaces springing up around Birmingham. These new endeavors serve as incubators, providing support, education, equipment usage and an environment of exploration for members. One such space, MAKEbhm, sums up the concept on its website by saying, "Think 'gym,' then substitute a potter's wheel or table saw for a treadmill."



Photographer Liesa Cole loves the new energy she sees in Birmingham and hopes it will lead to conversations about the impact art can have on the lives of everyone in the community. "It's imperative for artists and art lovers to create conversations about the way art enhances our lives," she says. "It isn't just because it's pretty or pleasing. We have to reframe the conversation that art creates understanding and conversation between diverse communities, serves as our historical record, spurs economic development and encourages innovative thinking in all sectors."



Fostering an Environment Where Arts Thrive



Musician Matthew DeVine likens a thriving arts environment to a science experiment where the conditions have to be just right.



"It means having curious people who are willing to consume something unfamiliar," he says, adding that we shouldn't ever forget that the purpose of art is to challenge people and shake things up. "When Beethoven wrote the third symphony, it challenged people's concept of music, musical form, musical expression," he says.



Not afraid to shake things up, the artists on our panel freely discuss what could be possible if we allow ourselves to dream.



"Most artists I know are producing incredible work with meager resources," says Vanblaere. "Imagine what would be possible with a concerted effort to make more resources available and support the creation of new works."

Today, Birmingham is a city filled with innovative artists producing art that is equal to, if not more creative than, anywhere in the world. Maybe it's something in the water flowing from the Cahaba or the red clay under our feet. Maybe it's the ease with which we encourage people to express themselves. Maybe it's our openness.



Whatever the source of the magic, Birmingham today is a city of dreamers and creators who hope the cultural renaissance we're experiencing is only just beginning.