Libraries are a bastion of information within society. They hold it, disseminate it, and ensure that everyone has equal and equitable access. As more and more of that information becomes digital, less actual space is needed to store physical information. This frees up room for libraries to offer more than physical books and recordings. Libraries are evolving into neighborhood cultural centers. They exhibit art, host musical and theatrical performances, and give lessons on cultural topics. They do not have the intimidating pedigree of art galleries, nor the price of entry of museums and theaters. It is a place where all people, despite education and socio-economic status, are welcome. It also offers patrons the unmatched opportunity to follow up what they have just seen, heard, studied, or experienced, by having the informational resources available to continue learning.
The American Library Association (ALA) encourages libraries to make space for visual and performing arts. They are a creative form of expression that not everyone has access to on a regular basis. This greatly limits the “artistic literacy” of many people groups (2018). ALA says, “The arts play a vital role in our ability to communicate a broad spectrum of ideas to all people. Developing an understanding and appreciation of visual and performing arts promotes artistic literacy. Libraries should offer opportunities for the community to experience art” (2018). The disenfranchised may never have the opportunity to see great art, hear classical music, or view theatrical plays in person. This makes libraries key to patrons’ educational possibilities.
Unfortunately, with these great cultural opportunities, come the risk of disagreement and confrontation. Not everyone in any community shares the same tastes, opinions, and ideals. The ALA Library Bill of Rights, Article VI, states, “Libraries which make exhibit spaces and meeting rooms available to the public they serve should make such facilities available on an equitable basis, regardless of the beliefs or affiliations of individuals or groups requesting their use” (2006). This means regardless of topic, type of music, or art subject all visual and performing artists have equal rights and opportunity to present in the library. In a perfect world, this would be encouraged and accepted by all. In reality, this can put librarians in the middle of conflict.
Restricting information goes against the nature of librarianship. In Article I of the Library Bill of Rights, exclusion of materials “because of the origin, background, or views of those contributing to their creation” is unacceptable (2006). Article II continues that no materials are to be prohibited or removed from the library due to “partisan or doctrinal disapproval” (2006). Freedom of information and freedom of speech belong in the library. This also means accommodating differences of opinions that can sometimes get quite heated.
So, with rights established for the free expression of artists, what does that mean for the “audience”? Given that the library is used by and open to the entire community at once, this means that all patrons stand to be audience members, whether it was their intention or not. Since not all patrons are at the library strictly for the art/music/theater, it opens the door for discord that ranges from noise complaints to “scandalous” subject matter. In the interpretation of the Library Bill of Rights for exhibit spaces and bulletin boards, the ALA encourages libraries to “not shrink from developing exhibits because of controversial content” (2006). Library staff can be proactive by planning. Having a strategy in place can replace arguments with open conversation.
The National Coalition Against Censorship (NCAC) has created Museum Best Practices for Managing Controversy. NCAC states that institutions should be well prepared with clear curatorial procedures, measures for handling bad press or complaints, and an established educational plan. If the library institutes “a learning opportunity by creating possibilities for thoughtful discussion between concerned stakeholders,” they greatly increase the chances of warding off community conflict (2012). The ALA prescribes creating guidelines for exhibiting/ performing in the library ahead of time and having it in writing for all. This way, there is no confusion and staff can always use policy to back up decisions made about any artistic expression. The interpretation suggests using such “criteria as the size of the artwork to be displayed, space requirements including for an audience, the length of time the work may remain on display or in performance, the frequency with which material may be displayed from the same group, or whether to accept work only from local constituents or stakeholders” (2018).
It is important to keep in mind, however, that such policies are not to hinder. They should not be used to censor, but encourage displays. The ALA interpretation urges for policies and publicity to “be written to encourage use of library public display, exhibit, and performance spaces by a broad range of organizations and individuals” (2018). The idea is never to discourage information, expressions, ideas, or people.
In the event that exhibits or performances create a threatening environment, any publicly funded library can opt to only host events that are directly library related (2018). This would be a great loss to the community as a whole, so the decision must be made with great care. The library could also makeartistic displays virtual, allowing for all members of the community, as well as people around the world, an opportunity to learn and share in the discourse. Scanning paintings or digitally recording performances allow for these resources to be accessed from home, experienced over again, and studied at length.
Regardless of how a library chooses to participate in the area of artistic education, it should be done. Libraries are the only source of contact to the creative world for some future actors and artists.
References
“Library Bill of Rights”, American Library Association, June 30, 2006. http://www.ala.org/advocacy/intfreedom/librarybill(Accessed April 5, 2019) Document ID: 669fd6a3-8939-3e54-7577-996a0a3f8952
“Meeting Rooms, Exhibit Spaces, and Programs”, American Library Association, October 23, 2015. http://www.ala.org/advocacy/intfreedom/spaces(Accessed April 5, 2019) Document ID: c37d826b-a166-c314-998b-1a2d38194a51
“Museum Best Practices for Managing Controversy”, National Coalition Against Censorship, 2012. https://ncac.org/resource/museum-best-practices-for-managing-controversy(Accessed April 5, 2019)
“Visual and Performing Arts in Libraries”, American Library Association, February 20, 2018. http://www.ala.org/advocacy/intfreedom/librarybill/interpretations/arts(Accessed April 5, 2019) Document ID: 0a0896ca-5cde-449e-ba5c-8d07bea391d9
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