Reinstate Funding from the National Endowment of the Arts
Why was I there? I was testifying in front of the New York City Council to advocate for the replacement of funds cut by the federal government issued by the National Endowment of the Arts.
Flanked by leaders from some of the most prestigious arts institutions and libraries in New York, I stood as the lone independent teaching artist speaking in favor of all arts organizations on the necessity of maintaining arts funding. As I waited my turn, I saw representatives from the New York Public Library, the Metropolitan Museum of Modern Art, Lincoln Center, Flushing Town Hall, and Dance Parade, arts advocacy organizations like New Yorkers for Culture and Arts and Dance/NYC, as well as smaller arts organizations such as the Chocolate Factory Theater, CCCADI and Cumbe Center for African and Diaspora Dance. When my turn came up, I walked up to the council's dais, sat in front of the microphone, and gave a short two-minute summarized statement live to the New York City Council. Below is the full testimony I submitted online.
https://legistar.council.nyc.gov/Calendar.aspx
NEA Testimony
Date: 5/21/2025
To: Carlina Rivera, Chair
New York City Council Committee on Cultural Affairs, Libraries, & International Intergroup Relations
From: Candice Michelle Franklin, New York City Dance Teaching Artist
Good Afternoon, Council Members,
My name is Candice Michelle Franklin, and I am honored to stand before you today to advocate for the restoration of funding lost from cuts to the National Endowment for the Arts (NEA). I am a dancer, choreographer, music producer, creative director, and the Artistic Director of Jazz Ain’t Dead. Most importantly, I am a teaching artist, working with institutions such as the Department of Education (DOE), Jazzmobile, Joffrey Ballet School, Lincoln Center, the National Jazz Museum of Harlem, YAFFA Arts, Harlem One Stop, and Cumbe Center for African & Diaspora Dance.
The arts are not a luxury; they are essential. They uplift communities, amplify marginalized voices, inspire further dialogue toward equality, and remind people from all walks of life that they are seen and valued.
Most of my work is performed free, at no charge to the public, not because the arts are free, but because arts funding makes public programming possible. With the arts, we are not just showing dance—we are bringing joy, excellence, teaching history, creating opportunities, and sometimes, on a day celebrating culture through the shared love of social dance, we have the beautiful, extraordinary power, (simply through the offer of a dancer’s hand), to show people that they are seen and that they matter.
For example, funded through grants via Jazzmobile in collaboration with Jazz Ain’t Dead, my Lindy Hop partner, Samuel "Sammy" Coleman, and I teach swing dance to seniors at local senior centers. This interaction has proven to be more than just a dance class—it is an exchange of stories, a celebration of their wisdom, and a moment for them to show they still got it! By fusing dance, poetry, and live jazz, we create experiences where seniors are not just spectators but performers, part of the show, sharing the stage with our accomplished musicians and professional dance artists—shining, living their best lives, doing Lindy Hop and, most importantly, being seen and having value, with integral relevancy to our show.
For my second example, I want to highlight the value of the arts in education. Recently, Sammy and I taught a whirlwind of 40+ Lindy Hop classes culminating into performances for autistic children in the DOE, spanning ages elementary to high school. Through the joy of Swing, we gave students not only a way to experience Jazz music and dance history through their bodies but also proved that autistic children can learn to dance and that autistic children can build social skills in a meaningful way—giving these beautiful children the opportunity to shine, be seen, and know even they have value.
For my last example, I want to highlight the value of the arts in community. With an NEA-funded NYSCA grant, I started a community dance company at Cumbe Center for African & Diaspora Dance based on Jazz dance and Katherine Dunham’s technique where adult dancers—from all backgrounds—could train, perform, and rediscover their passion. Some trained in their youth but after college hadn’t danced in 15 years and ended up pursuing other careers. Some are in their 60s, even retired professional dancers, while others are women business owners, visual artists, poets, teachers, and even young adults whose sole dance experience came from learning dance on YouTube a.k.a. The YouTube School of Dance.
Through Cumbe’s flagship Dance 4 Joy 10-class workshop series, we proved that while our technique may not always be on the level of a world-class professional dance company, our performances were rich with power, passion, and purpose—and the execution was fierce! We fused live singing, drumming, and spoken word, while performing, proud of our difference, and using culture as the glue. All in all, the Arts beautifully revealed to these adult students that they can be seen achieving excellence, that they can express a message effectively, and more importantly, that they DO HAVE THE POWER to create extraordinary work, knowing their work has real purpose and value.
Because of this, I decided—with Cumbe’s Leadership Team and that 2024 NYSCA Grant I was awarded—to create an official dance group, Cumbe RISE Community Dance Company, open to all, no auditions required, a win-win, performing free at community events throughout the city—spreading joy, inspiring people of all ages, and proving that THE ARTS BELONG TO EVERYONE.
That being said… Funding doesn’t just support artists—IT SUPPORTS THE PEOPLE ARTISTS UPLIFT. Restoring arts funding strengthens communities, preserves history, and builds bridges across generations. It is not just a lifeline for artists in this city, but a means for them to create belonging, provide opportunities, and ensure that communities are SEEN and VALUED—ultimately enriching lives and improving the quality of life for all.
So, I ask you—please help restore the lost NEA funding for theater, music, and dance, the visual and fine arts, because when we invest in the arts, we invest in people.
THANK YOU.
Candice Michelle Franklin, MBA
NYSCA Grant Winner 2024
Jazz Ain’t Dead, Artistic Director
DOE New York City Teaching Artist
Faculty at Joffrey Ballet School
Faculty at Cumbe Center for African & Diaspora Dance
Cumbe RISE Community Dance Company, Artistic Director
Guest Instructor at Sarah Lawrence College