35 Lancaster Voices Featured in New Book Exploring the Power of Art to Strengthen Community

A young man plays one of the pianos in Lancaster Square on Friday night. (Marty Heisey / Staff)

When John Gerdy moved to Lancaster from Dayton, Ohio, in 1998, he was less than impressed with the vibrancy of the community. Fast forward 25 years later, and Gerdy, the founder and executive director of the music education nonprofit Music for Everyone, will publish a book on Oct. 24 about Lancaster’s revitalization thanks to its commitment to the arts. (He mentions that less-than-stellar first impression in the preface.)

“Lights on Lancaster: How One American City Harnesses the Power of the Arts to Transform its Communities” includes essays by Gerdy and 34 other local creatively minded people, from musicians to educators to poets and a pediatrician.

And Gerdy knows a thing or two about making art himself — in addition to being an author and entrepreneur, Gerdy is a multi-instrumentalist who performs as Willie Marble and is also a painter.

Gerdy hopes the book can be used as a template to inspire other cities to create their own transformations from barren cultural landscapes to thriving, vibrant communities and continue to power Lancaster’s own art scene.

“Hopefully, (the book) will spark a community dialogue about the role of the arts in our community and how we can continue to keep them vibrant,” Gerdy says. “We’ve come a long way in terms of being an arts destination, but there are many challenges we face. We have to continue to work at (supporting the arts) and make it a priority, because it could just as easily fade away if we’re not cognizant of supporting artists and supporting creativity in our community.”

Varied voices

Gerdy has done his part to help bring about Lancaster’s current vibrant art scene. His nonprofit Music for Everyone has invested more than $4 million into school and community arts organizations through projects like an instrument repair program for public schools and the Keys for the City program, which places pianos in public spaces around Lancaster city for several months a year.

But in his eighth book, Gerdy shows how Lancaster’s artistic revival was truly a community effort.

That’s where those 34 other essayists come in.

“There are so many artists and creatives who use their art to change our communities and move the world forward, I could have easily included 50 or more contributors,” says Gerdy, who edited the essays. “I really learned something from every single one of (the essays). Every one was unique and added to the project. There literally is something for everyone in this book.”

The essay collection opens with a foreword from Lancaster Mayor Danene Sorace, who credits the emergence of the First Friday events in the early 2000s, a wave of new gallery openings and other creative initiatives as the sparks which turned Lancaster into a destination for the arts.

“The arts weave together personal and community expression and create experiences of joy and reflection, as well as economic opportunities,” Sorace writes. “In so many ways, the arts fuel Lancaster.”

George Mummert, a Lancaster-based sculptor and co-founder of Keystone Art & Culture Center. contributed an essay about the power of art to heal and transform.

“John’s book is important because it’s sharing those personal stories on how individuals who are involved in the arts have been transformed, and how the people who have been exposed to their work have been transformed,” Mummert says. “And so, as the residents go and as the artists go, so goes the city.”

The essays in the collection are divided into four sections: “Create;” “Educate;” “Heal;” and “Transform” and demonstrate the link between a thriving arts scene and a thriving city.
Gerdy gives special attention to the power of the arts, specifically music, when it comes to education — a subject he’s written about before in previous books — especially at a time when, for many schools, art programs are among the first to be cut from the budget.

“Music and the arts are the most effective tool in our educational and community arsenal to teach creativity and to teach out of the box thinking,” Gerdy says. “So it’s critical, now more than ever, that we invest in music and the arts.”

The book also features essays about how music brings joy to a refugee family, how to create and sustain an inclusive literary community and how architecture can encourage a more diverse and innovative city.

A ‘crazy renaissance’

“Lights on Lancaster” is all about creativity, collaboration and how the arts are able to function as an all-around benefit to the community by connecting neighborhoods with residents from diverse backgrounds, bringing tourists to the city and encourages of other small businesses — all of which is evident in Lancaster today, but perhaps wasn’t as much 20 years ago. Lancaster’s burgeoning restaurant scene, which features a wide range of cuisines and trendy eateries, is one example of an industry benefiting from a vibrant established art scene.

“Taken as a whole, the essays in John’s new book serve as a blueprint of sorts for the whys and ways that communities everywhere can and should embrace the arts,” says Barry Kornhauser, the assistant director of campus and community engagement at the Office of Visual & Performing Arts at Millersville University, who contributed an essay about arts, education and marginalized youth to the book.

“Lights on Lancaster” highlights some of the city’s past successes, its current culture and its hopes and plans for the future. For example, Sorace’s essay highlights two newer initiatives: the River Connections Project and the PACE program (Public Art Community Engagement), which facilitates a diverse range of artists creating temporary, public-facing installations to enhance their neighborhoods The River Connections project aims to tell the story of residents of the city through murals, spoken word, and storytelling, especially those residents among the underserved communities that live closest to Conestoga River.

The connection between residents, sparked by creativity, is at the heart of many of the essays.

“I feel like there’s a crazy renaissance of art and culture happening in Lancaster right now. There’s just a blend of so many different cultures,” says Terian Mack, a Lancaster-based songwriter, recording artist and painter, whose essay “Hip Hop, Transformation, and Community” is featured in the book. “Hip hop is almost totally based around collaborations. I love connecting with everybody. That’s kind of my thing in Lancaster. I just want to find all the talent and see who does what and really push everybody to their potential.”

For Gerdy, the book project not only highlighted his beloved city as a model for other cities to follow and demonstrated the transformative power of the arts, but the opportunity to connect with so many creative people and collect their thoughts into a collection gave him hope for the future — of Lancaster and the world.

“Creativity is the currency of the future,” Gerdy says. “Every single advancement in the history of humankind, whether scientific or social, always starts with a spark of creativity. Looking at something a little bit differently and saying, maybe if we do it this way, we’ll be able to come up with something new and impactful and, you know, suddenly change the world.”

Written by: Mike Andrelczyk for Lancaster Newspaper

Organizational DEI: The Learning Curve Continues

Whether as an individual, business, or Community Benefit Organization, it is important to periodically take an unvarnished, honest look in the mirror. Such self-reflection can reveal uncomfortable truths about yourself or your organization. We do not do that often enough. It can be quite painful when, after such honest self-examination, you find you might not be living up to the standards and ideals you profess to believe in and act upon.

After the George Floyd murder, Music For Everyone began a 360-degree review of our policies, procedures, and bylaws seeking to identify criteria and goals for strategically diversifying the organization. There is no question that these measures have made us a much better organization. But the fact is, we should have made this effort long ago. While we have had POC on our board, we were not directional and strategic regarding our diversity efforts and how that diversity could be leveraged to advance our mission more effectively.

It's been an interesting, challenging, and ongoing journey. Perhaps the most important lesson we’ve learned through this process relates to the “ongoing” aspect. We’ve come to understand that once you make a commitment to lean into organizational diversity, it is an ongoing commitment and challenge rather than a journey with a definitive ending. 

The easiest step was the first one: making a commitment to make diversity a part of the organization’s ethos and values.

But simply making the commitment is a lot easier than the next step of following through with directed and strategic action. To that end, we actively identified and began recruiting POC to join our organization, from board members to committee members, to the vendors we use, to the artists and musicians we hire. After adding several POC in these various roles, we felt pretty good about our efforts and the results they produced.

Despite this progress, we realized that this commitment and journey does not end there. Those two steps were simply the first of several more that we had to take to make our commitment authentic. For the purposes of this essay, I will concentrate specifically on the continuing challenges we faced as it applies to our Board of Directors.

One of our newest members, a young Hispanic woman, requested that we meet over a cup of coffee. She explained that she did not feel she was contributing much to the organization. As the youngest board member, she felt intimidated by fellow board members, most of whom had a lot more work and career experience and accomplishments, not to mention more experience serving on non-profit boards. As a result, she was very hesitant to speak up at meetings.

 Clearly, we had more work to do to make our DEI commitment authentic. This required making it clear that we weren’t recruiting POC as mere window dressing. We needed to assure her that our commitment to diversity was real and deep, and as such, it was imperative that she “speak her truth”. We had to be clear that we recruited her because she offered experiences and perspectives that had real value that were every bit as important as any of our other band members.

Authentic DEI commitments are not about window dressing but rather require the creation of a welcoming environment that provides a safe space for everyone to contribute, regardless of background or level of experience. In our case, it is critical that POC speak their truths because the majority of the kids and families we serve are kids and families of color. How can we claim to be fully leveraging all our efforts and resources to serve that population if organizational decision-making does not include perspectives from members of that population?

In other words, it was important to be clear that we needed her honest perspectives because that would make us a more effective organization and, thus, better able to serve our constituents. Otherwise, why go to the effort to recruit her? 

While reassuring her of her value, it begged the question. If she was feeling that way, how about the other POC we recruited? Did they feel intimidated and unsure of their value and roles? That prompted us to lean even harder into our DEI efforts. To that end, we invested in some board professional development workshops and initiatives. Doing so was important on two fronts. First, not only because heretofore, such board service opportunities had not been available to a wide segment of POC, but also because most of the POC we recruited were relatively young. We realized that in addition to recruiting and encouraging them to speak their truths, we had an obligation to invest in them not only so they are more effective in contributing to our board in the present but also in their potential as future community leaders. In other words, this was another level of commitment to and investment in our DEI efforts.

Again, while we feel good about our progress, we fully expect that our learning curve will continue because embracing DEI is about a lot more than simply writing a social justice statement and slapping a Black Lives Matter in your front window. It is an ongoing commitment. But it is a journey that is well worth the inevitable challenges and bumps in the road because, at the end of the day, committing to achieving greater organizational diversity is not only the right thing to do; it is the smart thing to do.

The Madness and Benefits of Herding Cats

I’ve published seven books, mostly about education reform and the role and impact of athletics and music on our educational system and society. One of those, Sports in School: The Future of an Institution, is a book I edited. Once published, I vowed never to edit another. Asking a dozen or so individuals to write an essay and then managing not only the process of keeping them on track but also their writing styles was, at times, exhausting. However, it was necessary to bring context and stylistic consistency to the project. In short, it was like herding cats.

That said, there was a tremendous benefit to working with people with extensive experience and expertise in various subject areas. Working through an essay with someone with wisdom and expertise different from my own stretched my perspective, knowledge base, and worldview. It forced me to rethink many ideas, beliefs, and theories. Despite the headaches and frustrations, editing that book amounted to an advanced post-doctoral education. It re-energized and shaped my perspective and writing for the next decade. You can learn a lot by asking intelligent and successful people to organize their thoughts, processes, theories, and stories and put them to paper. It is educational and inspirational as you learn how they leverage their knowledge and talent to impact and drive change.

While I have done a fair amount of writing, speaking, and publishing on the transformative power of creativity and the role of music and the arts in our schools, communities, and society, there is still so much more to learn. And who better to contribute to a book on creativity than a bunch of “creatives” who have had tremendous success in applying out-of-the-box thinking to solve problems of all shapes and sizes and, in the process, transform their businesses, organizations, and communities?

So, in a moment of confusion, delusion, and lack of good judgment, I decided to ask a bunch of creatives…thirty-four of them…to each contribute an essay on how they leverage their art form and the creativity it spurs to transform their community, in this case, Lancaster, PA. Clearly, I had lost my mind.

From a former to the current city mayor to a pediatrician, from a bar owner to a mixed-media artist, from a CEO of a live entertainment company to an architect, and from a filmmaker to a hip hop “artivist,” the experiences, knowledge base, and perspectives are wide-ranging. The result is Lights on Lancaster: How an American City Leverages the Arts to Transform its Communities, an eclectic collection of styles and narratives ranging from the academic to the instructional to the personal. There is something for anyone interested in the arts, the creativity they inspire and develop, and how that translates into community impact and transformation.

This book could have easily contained another thirty, forty, or fifty Lancaster creatives who are leveraging their talents to make this city the vibrantly diverse and wonderful place that it is. Thus, I owe an apology to all of those who, while certainly deserving, have not been included. That said, it’s quite likely that my head would have exploded if this project grew to the point where I was responsible for herding sixty cats.

Focusing specifically on Lancaster was also enlightening as I have realized that Lancaster is not unique in being a home to a deep, broad, and impactful pool of artists and creatives. If you look hard enough, the potential to harness the arts and the creativity they inspire and nurture to transform communities exists in every city, town, or neighborhood. The challenge for community leaders is effectively seeking out, highlighting, supporting, and investing in the arts for community building, progress, and change. How can the potential synergies between and among artists, businesses, non-profits, and governmental agencies be leveraged to build community? While some may think of them as extra or merely something nice for a community to have, the fact is the arts are the glue that holds our communities and society together. They are universal in their impact and influence. Whether related to education, economic development, community building, public health, or social justice, the arts are indispensable for educating, healing, and building community.

That said, despite the challenges and headaches of herding over 30 creatives, it was well worth the effort. The experience was thought-provoking, mind-bending, entertaining, and sometimes a bit crazy. And clearly, the project is infinitely better as a result. It is a much deeper, richer, more expansive look at just how powerful the influence creatives and the art forms they employ can have on our world. That impact is pervasive, reaching and influencing virtually every nook and cranny of our communities and society. Hopefully, this collection of essays effectively illustrates that transformative impact.

In the end, I hope this effort expands the boundaries of how we harness the arts and uplift the creatives who employ them to transform the world, one community at a time, perhaps starting with your town, city, or neighborhood — even your block.

Lights on Lancaster will be released on October 3 and is available for pre-order through this link.

Living in a Post-racial Society?

“Unfortunately, ‘post racism’ is also a myth, like unicorns and Black people who survive until the end of the movie.”

— Justin Simien

It’s often been said we now live in a post-racial society simply because Barack Obama was elected president twice; for those who believe that I have a few questions.

Are we in a post-racial society when, at any random moment, you might get shot during a routine traffic stop? Or, in the case of George Floyd, suffocated to death in plain view, or Breanna Taylor, the medical worker shot and killed by Louisville police during a botched raid on her apartment? Is that post-racial? Or, because of a minor drug possession charge, you are incarcerated, labeled a felon, and not only have to spend time in prison but, upon release, are stripped of many fundamental rights and denied access to jobs and other benefits of being an American citizen at a far greater percentage rate than Whites? Is that post-racial?

Is it reasonable to think that we have achieved a post-racial world when the horrors of the Jim Crow era are not that far behind us and continue to have an impact? Yes, in some ways, Jim Crow was an improvement over being enslaved. Yet, Black Americans still had to live with the reality that, at any random moment and for the most innocuous reason, they might be lynched by an angry mob of Ku Klux Klan members. Or think of fourteen-year-old Emmitt Till, who on August 28, 1955, while visiting family in Money, Mississippi, was brutally murdered for allegedly flirting with a White woman four days earlier, an assertion retracted by the woman years later. That was in 1955. Not too long ago. To think we are in a post-racial society because of the passage of a few civil rights laws, with those memories and realities still in plain view in our rearview mirror, is far-fetched.

Having a Black president and a woman of color vice president does not mean we now live in a post-racial world. We should acknowledge systematic racism still exists and assume some personal responsibility to do something to change it.

It’s time to go on record. Not simply with words or intent but with work and action. It’s time to look into the mirror and ask yourself, “Where exactly do I stand? And what am I willing to do to contribute to building a more inclusive America?”

The fact is, we’ve got a lot more work to do.

Life Lessons From Painting: Your Self Portrait is Never Finished

In 2017, I began taking painting lessons. It has been fascinating, exhilarating, challenging, and, more than anything, educational.

I have a wonderful teacher. She’s encouraging and inspiring with a real sense of and ability to make the connections between painting and life. While having a competent teacher is vitally important, there are also lessons that are fundamentally inherent in being involved with the arts, whether music, visual, or theater.

In addition to the various artistic techniques, there have been three important life lessons that I’ve learned or reinforced through my immersion into the craft of painting.

First, you can’t be afraid to color “outside the lines.” The arts offer a place where you can test the limits and break the rules without penalty. Having “permission” to color outside the lines encourages, nurtures, and rewards creativity. From an educational standpoint, engaging students in activities that nurture creativity is critical today. The number one characteristic that business leaders look for in potential employees is the ability to imagine and think outside the box. Simply put, creativity is the currency of the future.

On a more personal level, painting teaches you not to be afraid to make a “mistake.” It encourages you to be fearless, “go for it,” and test the limits. It teaches you to be unafraid to try new things, even if it means you may make some mistakes along the way. That is an important life lesson, as those who aren’t afraid to make a fool of themselves get to dance a lot more. It’s what keeps life interesting. Once you stop testing yourself, you stop learning and growing as a person.

The second life lesson reinforced through painting is that, like music, you can practice it and enjoy it for a lifetime. Continuing to challenge yourself into old age keeps you vibrant and more engaged in life. In short, it keeps you young.

Finally, there is the notion that, like life, a painting is an ongoing project. As you work on a piece of art, you continue to evaluate, revise, and consider different angles, perspectives, colors, and shapes, to add to or paint over. You make mistakes, learn from them, and then paint over them. Like life, a painting is born through an idea or vision; from there, it grows and evolves. It is a work in progress, and there is no finish line.

Of course, at some point, life ends. And so does a painting. There comes a time in life and in creating a painting where you must let go. But in the mind of a painter, the work is never truly finished. Instead, it is resolved for the time being. Even after it is sealed and hung on the wall, the artist will always look at it and think, “I should have added more color here or made this line more crisp.”

It’s that constant push to reassess, reconsider and improve a work of art that applies so directly to life itself, for, as human beings, we are all works of art in progress.

Replacement Theory

““My father was a slave, and my people died to build this country, and I am going to stay here and have a part of it just like you.””

— Paul Robeson

A disturbingly prevalent pretext developing among White nationalists is the “The Replacement Theory,” which argues that nonwhite immigrants are being imported (sometimes the Jewish community is tarred with orchestrating this) to “replace” White people and White voters. The purported goal is for non-White culture to replace White culture through mass migration and immigration. In other words, Jews and people of color are “taking over” the government and society to marginalize Whites. It originally took hold in France and throughout Europe and has gained traction in the U.S.

This ideology was on full display during the 2007 far-right rally in Charlottesville, Virginia when crowds of White men marched with torches chanting, “Jews will not replace us.” More recently, it reared its ugly head again at the January 6, 2021, insurrection at the U.S. Capital.

Political scientist Robert Pape studied the 380 or so people arrested in connection with that insurrection. According to the NY Times, Pape “expected to find that the rioters were driven to violence by the lingering effects of the 2008 Great Recession. Instead, he found something different. His polling and demographic data showed that most of the insurrectionists were motivated by the fear that the rights of minorities and immigrants were crowding out the rights of white people in American politics and culture.” (NY Times, April 7, 2021, p. A-15)

The spread of such a hateful, racist ideology is frightening. Federal authorities now indicate that American extremists are the most urgent terrorist threat to the country. Since January 6, 2021, researchers have identified members of more than a dozen extremist groups that took part in the riot. The storming of the Capital drew extremists that included QAnon conspiracists, the far-right group the Proud Boys, militiamen, White supremacists, and die-hard Trump supporters. And who makes up most of these groups? White men.

Yes, the demographics of our country are changing. We are becoming more diverse and less White. But that is the result of broad demographic changes and not a sinister plot to eliminate or replace White culture. America is a nation of immigrants. Always has been. And it is the vibrant mix of people of all nationalities, backgrounds, and colors, that is our greatest strength. The fact is this “theory” is simply a harmful, hateful, racist, divisive lie.

Want to know something that you can do to be a positive force for social and racial justice? The next time you hear someone spout this Replacement Theory nonsense, call them on it!