FROM THE EXECUTIVE DIRECTOR
This column was first published in the May, 2025 issue of EMAg, the Magazine of Early Music America. In our volatile political and cultural climate, some of its ideas and information may have changed since publication.
Regardless of your politics, I think we can agree that the last few months have been chaotic for the performing arts, with a variety of new federal policies creating uncertainty around the funding we rely on.
Trade wars and other political decisions have left many of us pinching pennies. This is a tough environment to fundraise in. At similar moments of economic downturn, arts organizations have typically seen a marked decline in donations.
By the time this column is published [May, 2025], I fear the National Endowment for the Arts will have been gutted like most every other federal agency. As I write this, the National Endowment for the Humanities has rescinded millions of dollars of grants, including $363,000 promised to the American Musicological Society.
Certain NEA grant programs have already been halted, and others now carry burdensome restrictions, including an elimination of “DEI” projects and activities. The concepts of diversity, equity, and inclusion are no longer welcome for federally funded nonprofits. The ban on projects or institutions that promote “gender ideology” is troubling. Simply expressing support for the many trans folks in our field is now grounds to have funding revoked. What EMA member organization isn’t at least trying to make classical music more accessible for people of color and other marginalized communities?
And the argument that private funding is better equipped to support the arts is in conflict with the NEA’s own data: The agency reaches 779 more counties than the top 1,000 private and community foundations.
To add insult to injury, the COVID pandemic continues to have a negative impact on the financial wellbeing of our member organizations. We’ve been searching hard for solutions, but most of us are finding that a good chunk of our pre-pandemic audience isn’t coming back.
So, what do we do now? First of all, you can count on EMA to fight for federal funding. Along with our peer national service organizations, we’re keeping an eye on what’s going on in Washington and looking for ways to make our voices heard.
You can also count on EMA to keep you informed. We’re tracking executive orders, legislation, and lawsuits that impact you, and we’re doing our best to share that information with you in a timely fashion.
We’re also starting something new for our member organizations: regular Zoom meetups for administrative, artistic, and board leaders so that we can share knowledge, stay updated, and learn from experts. (Member organizations, check your inboxes. You’ve likely already been invited to an initial session or two.) The League of American Orchestras, Chorus America, and Opera America have been doing this kind of work — first in-person and then online — for a long time.
While we will continue to share important information and updates with non-members, these meetups are a perk of membership. This is just one way we are ensuring that EMA membership for organizations is worth every penny. Your participation and feedback will be vital in making these sessions as valuable as possible.
What about the Montréal Summit?
In recent weeks, EMA has been monitoring government policies that could impact our ability to host the 2025 Summit, planned for Montréal. We’re alarmed by the number of detentions at the border. Several of our members have expressed concerns about international travel. I’m personally worried about the many musicians on U.S. student visas who would cross the border to participate in our Young Performers Festival. We’re also hearing about budget cuts at research universities that may impact early-music programs. Many people might find the cost of traveling to Montréal prohibitive in this economic climate.
With all this in mind, EMA is pivoting to a virtual Summit for 2025, to be held online October 17-19. While this is in many ways a disappointment, we’re actually very excited for this format, which will allow for a major global gathering. For updated schedules and information, check out the Summit page on the EMA website.
We have long wanted to create more space for Spanish-language presentations from Latin American scholars. Now these researchers and performers can convene a series of scholarly talks and English-speaking folks can participate via the magic of an AI translation service. Our many European partners will be able to join us as well.
You can expect sessions for arts leaders (a continuation of our new webinar series); opportunities for presenters, artist managers, and performers to network; presentations on the latest early-music scholarship; and virtual performances by our Emerging Artists Showcase and Young Performers Festival participants.
And one final thought. My wish for all of you is that you prosper despite the challenges and that you stay the course in supporting early musicians who are queer, disabled, and/or people of color. You can be sure that EMA is unwavering in our support of our entire community!
David McCormick is EMA Executive Director.
