I'm More Than My Trauma: The Impact of Cash Transfers on Artists in the Twin Cities Post-George Floyd

Background and Purpose: The murder of George Floyd had an intractable impact on the social fabric of the United States. This was most acutely felt in the Twin Cities, ground zero for the racial and economic equity protests that grasped the country. In the aftermath of the unrest, and in the midst of the pandemic, Springboard for the Arts launched a guaranteed income pilot targeting 25 artists living in the Rondo and Frogtown neighborhoods in Saint Paul. This was an intentional reinvestment in historically underinvested communities. Individual artists and creative workers remain invisible parts of our labor discourse as there is little to no safety net for artists. Oppressive, racist, and capitalistic systems perpetuate harmful norms and stereotypes and are replicated in the art sector. Springboard for the Arts’ micropilot offered a response to the growing racial and economic inequity in the Twin Cities.

Methods: Over two years, we have conducted a critical ethnography with nine recipients of the micropilot. Critical ethnography uses critical theory and reflexivity to question systems of oppression, empower participant voices, and equitably disseminate knowledge. In this study, the research questions, analysis, and the dissemination process have been participant-driven. Data was collected via interviews, fieldnotes, and detailed memos. This work included visits to artists’ studios and living spaces, attending community events, and meeting with community and political stakeholders.

Results: Emergent themes from this work emphasize how a guaranteed income for artists enables them to take risks and create from a space of freedom by alleviating mental and emotional stress. Recipients were able to invest in themselves through buying supplies or renting a studio, and to invest in their communities by buying local and supporting other artists. Importantly, the guaranteed income acted as a catalyst for shifting exclusionary practices within the art sector by empowering artists to create without the constraints of philanthropy. This was a direct response to patriarchal, racist, and oppressive practices within the art sector that set standards of legitimizing art while also demanding individuals to forefront their trauma in order to access grants. Artists instead shifted their focus to community-centered showings to make art more accessible. For many, this meant creating art that helped their community make sense of the racial uprisings surrounding the murder of George Floyd and their ensuing impacts.

Conclusions and Implications: As the data from this research illustrate, the emancipatory potential of guaranteed income cannot be overstated. By increasing individuals’ agency as well as their financial stability, unconditional cash is a direct response to structural violence. The findings from this work highlight the need for a livable wage and a robust social safety net, while also highlighting the importance of artists in responding to systems of oppression. Artists play a vital role as facilitators and arbiters within their communities. Their work often lifts up community voices and has the power to unite people, giving them an integral role in advocacy.