Inventory in the Arts

An area of concern for the future of arts programs is in inventory acquisition and general maintenance. Unlike other disciplines that simply require classroom space with basic desks, chairs, technology, and minimal materials, the arts demands an extensive inventory of materials in order to function at a high level. In art departments we find photography equipment including black rooms, enlargers, clean up facilities, ceramics, wheels, sculpture equipment, easels, canvases, open spaces, tools, printers, large desks, special lighting, in addition to normal classroom space and a gallery. Theatre departments need large spaces, a workshop complete with tools, lumber, and props, a costume shop, lighting, sound equipment, chairs, music stands, risers, steps, and nearly unlimited makeup. Classrooms require not only desks, but mirrors, space, and advanced technology.

Music departments must have soundproof practice rooms, quality pianos that require frequent tuning, music stands, specialty chairs, libraries, instruments for concert playing as well as marching, uniforms, risers, temperature controlled facilities, acoustical requirements in concert halls and rooms, various sized classroom space to include desks, technology, and open areas. Music facilities must also have computer labs, recording technology, and multi-media equipment.

Music, art, and theatre facilities require significant storage areas, unusual requirements for safety (consider hearing health in music), and, although not necessarily required, decor that reflects the rich heritage of the arts as well as the progressive nature of the disciplines. When we consider the inventory needs and unique requirements for the arts, it should come as no surprise when budget managers and financial examiners become concerned with the fiscal demands of the arts in higher education. Although most of these initial expenses become long-term assets, there are also ongoing expenses related to inventory development to match program goals. To put it plainly, arts programs are expensive in comparison with other disciplines.

Justification for the arts in society and in higher education often takes the emotional side, and we hear how the arts makes the human complete, meeting emotional needs, rounding out the human being, relating to our sensitive side, providing cathartic release, allowing for human expression, and the list of benefits to the heart and soul are nearly endless. While all this is true and should not be marginalized, at the same time, these arguments somehow seem weak in light of the constant economic pressures of our culture. When funds are short, the arts get shorted. Such is reality and it is doubtful whether that will ever change. Donors enjoy supporting the arts, and most people value the arts, but when funds are allocated across several areas, the arts are generally not treated as they may deserve. And yet, in light of the inventory demanded, regardless of how the arts are perceived, most institutions have already provided a great deal of resources into the arts. Another way to look at this is that arts programs require assets that aid in production.

Are there ways to reduce inventory requirements without any loss of quality in arts programs in higher education? Unlike a business where the goal is to keep inventory moving, in the arts the inventory is capitalized for long-term minus depreciation without turnover. This converts initial expenditures into long-term assets reflected on an institutions financial statements. Other than those needs to address technological progress, maintenance, or new instruments, the inventory requires normal replacement in a given year. Yet because of the nature of progress in the arts, there must be constant attention given to equipment to meet the educational requirements. In the future, music, art, and theatre programs need to find ways to reduce or at least maintain the inventory while insisting on high quality programs.

This may require sharing of resources, utilizing technology to a high degree, regular maintenance, and shared facilities when possible. Such practices will require careful scheduling, advance planning, strategic goals, and targeted programs. In addition, careful use of facilities and resources could mean creative allocation of traditional equipment and an increase in technology and media in classrooms and labs. It would be wise to study the possibilities of combining certain assets in the arts, particular at the development stage, while keeping inventory well-maintained and controlled.