As of July 1, 2023, Bets Charmelus will assume the role of CEO of ArtistYear, a promotion from his current position as National Program Director. Senior Resident Teaching Artist Dawson Atkin sat down with Bets to discuss his time at ArtistYear and his vision for the future of the organization. They started by asking him about the “Blob Tree,” a ritual he introduced to start off each Resident Teaching Artist meeting and training.
Dawson Atkin: So, which “blob” are you feeling today?
Bets Charmelus: I think today I’m blob 15, who’s holding onto the tree and waving.
DA: Interesting choice! Today I’m blob 10.
BC: Blob 15 is more ambitious and risky compared to Blob 10, who is more surefooted and stable.
DA: How long have you been working with ArtistYear?
BC: I’ve been with ArtistYear for two years. I started as the Philadelphia Lead, then I was promoted to the National Program Director, and [now, I’m] CEO.
DA: And how did you find out about ArtistYear? What drew you to it?
BC: I found out about ArtistYear through the music community in Philadelphia. I led workshops through Settlement Music School, where CEO Helen Eaton recommended I look into ArtistYear. Then, I was introduced to Margo Drakos [founder of ArtistYear]. The mission and values of ArtistYear aligned perfectly with my own purpose of offering artistic exploration to as many people as possible.
DA: What makes ArtistYear special?
BC: ArtistYear is special because it is dedicated to humanity. The organization truly cares for and honors the people it interacts with, which sets it apart from corporate environments. There is something unique about the way we take care of and value humanity here.
DA: As the CEO, what is your vision for the future of ArtistYear?
BC: One word that comes to mind is “interdependence.” I want to build on the interdependence that Margo and Stu [Warshawer, ArtistYear’s previous CEO] have already established among the ArtistYear community. I aim to create a network where everyone, including external communities we work with, Resident Teaching Artists, and leadership can rely on each other. I also want to focus on investing in alumni and connecting them with new Resident Teaching Artists. Additionally, I want to foster a sense of community that feels organic and not forced, where we can rely on the collective wisdom of the room.
DA: What are you looking forward to in your new role as CEO?
BC: Building relationships is one of the things I’m most excited about.
DA: What kinds of relationships are you hoping to form? With whom?
BC: I want to connect with people who believe in what they’re doing, who are passionate and open to challenging assumptions. I’m interested in having conversations about artistry, the brain, and exploring big dreams and visions. I want to connect with individuals who are enthusiastic about discussing their work and eager to collaborate.
DA: In your first 100 days as CEO, what do you hope to accomplish?
BC: One of my main priorities is to ensure that everyone within ArtistYear has a clear lived experience of our mission, vision, and values. I want to create spaces rooted in these principles. I also want to enhance belonging, self-efficacy, and self-motivation within the organization. Furthermore, I aim to increase the fractal nature of the organization, where everyone from leadership to students can articulate our values consistently. Finally, I want to make sure our mission, vision, and values go beyond being just words on a PowerPoint deck and are truly lived experiences for all.
DA: How do your personal artistry, teaching artistry, and organizational work influence each other?
BC: [For me,] there is no difference between personal, teaching, and organizational artistry. They are all rooted in the same purpose of inviting others to explore their own imaginations. Personally, I express myself and explore my imagination through the medium of music. As a teacher, I show how we can connect what we know with what we’re trying to learn and build new worlds. As an organizational leader, I challenge the existing structures and invite imagination into our work.
DA: What are your thoughts on the current state of arts education?
BC: When we use the term “education,” it often becomes associated with schooling. However, arts education goes beyond formal schooling. It encompasses a series of rituals that have been passed down for generations, where artistic practices are shared with new generations. Whether it’s basket weaving, drumming, dance, or song, arts education has existed long before formal schooling. I believe we are right where we need to be, especially with tools like the internet that enhance our ability to offer arts practices. As arts educators, we are part of a lineage that stretches back for centuries.
DA: Something I’ve heard you mention is the idea of taking ArtistYear outside the classroom. Can you elaborate on that?
BC: It makes sense to me to place artists wherever they are welcomed. We’ve already tested our model in schools and witnessed its success. However, teaching artistry is not limited to schools alone. Arts education has historically taken place in various settings. Therefore, the next logical step for ArtistYear is to expand beyond the classroom and bring arts education to different environments. Being in schools provides structure and familiarity for both the artists and the students. Moreover, many schools, especially those receiving Title I funding, require additional support and resources to expand access to the arts. That makes schools a great place to pilot our program, but it’s by no means the only place where it can exist.
DA: Before we conclude, could you share your YTRG (Yesterday, Today, Roadblocks, Gratitude)?
The YTRG is another ArtistYear ritual: each Resident Teaching Artist and member of leadership completes one every day.
BC: Yesterday was a holiday for me, so I took some time off. Today, I started the day with a leadership huddle and had a sync with a potential new partner in Colorado. I dedicated time to emails and action items, met with a partner to facilitate relationship transitions, and ended the day speaking with Resident Teaching Artists, including yourself. As for roadblocks, this transition into my new role as CEO is not the only transition I’m navigating right now. It brings up some feelings of uncertainty and the need to negotiate with the part of my brain that seeks safety. However, I’m grateful for the position I’m in, the trust people have placed in me, and the opportunity to experience these transitions.
DA: Thank you so much for sharing your insights and vision for ArtistYear. We look forward to seeing the organization grow under your leadership.
BC: Thank you for having me!
Responses have been edited for clarity and brevity.
Learn more about Bets and his work in the arts, education, and community advocacy here.