On a recent visit to New York, I was invited to drive up the Hudson valley to visit the small city of Beacon. Today Beacon is an attractive city overlooking the Hudson river. A few years back, however, it was otherwise.

During the 1970s, Beacon went into an economic nosedive and by the 1990s, 80 percent of its businesses had closed down. I was told that by that time, it had actually become a crack town and that many of its inhabitants had left. Main Street was mostly empty and boarded-up.

Today Beacon is once again thriving. Its many 19th Century buildings have been refurbished and in addition to the usual kinds of businesses required by any community, such as banks, drugstore and post office, you will find galleries, boutiques cafes and restaurants along Main Street. The place is abuzz with activity, indicative of a growing community.

What has been the catalyst for change? In the late 1990s, the DIA Art Foundation purchased what had formerly been the Nabisco box printing facility, which is located on the outskirts of Beacon and converted it into one of the country's larger contemporary art museums. Its name, DIA, taken from the Greek, means "through", and was selected to indicate the enabling intention of the foundation, especially the enabling of major art projects that might not be realised without serious sponsorship, however, the relocating of the foundation to Beacon, actually brought about the enabling of Beacon itself, into a viable community, once again.

The Dia Arts Foundation was established in 1974 by Philippa de Ménil and her husband, art dealer, Heiner Friedrich. Philippa is the daughter of Dominique de Ménil, Houston arts patron and hieress of the Schlumberger oil exploration fortune. The de Ménils and their extensive art collection are the underlying reason for the De Ménil Museum in Houston, Texas.

Beacon is just a little over an hour north of New York City by train and conceivably less by car and as such it is easily accessible to one of the world's major art centres. Furthermore, it is located in an area of incredible natural beauty, namely the Hudson Valley, with many other historic communities and well known educational facilities nearby. With its recent economic resurgence, Beacon has, once again become an attractive place to live. People, especially artists are moving in, buying houses and studios, thus turning it into a creative arts community. This in turn attracts visitors, who visit the DIA contemporary art museum, buy art from local galleries, eat in local restaurants, stay in local hotels and so on. In other words, they spend money locally, which in turn, gets spread throughout the community.

The place of the arts in revitalising communities is not unique to Beacon, however. North Adams, Massachusetts is another such example. Like Beacon, it too, had fallen on hard times, with the closure of its factories and like Beacon, an arts benefactor moved in, utilising the abandoned manufacturing plants, by turning them into a contemporary visual and performing arts facility. Today Mass MoCA is the largest of its kind in the entire country and the city of North Adams is again thriving.

These are just two examples of the power of art to effect change. Other examples can be cited. In New York City itself, something similar happened to the district between Houston and Canal Streets, known as Soho. Fifty years ago it was a neighbourhood of closed businesses and abandoned 19th Century buildings. Artists, ever looking for low cost studio space, moved in and in their wake, so did art galleries, dealers, art supply shops and framers, followed by restaurants and boutiques. Today this fashionable neighbourhood is flourishing and a must see locale for tourists.

So what is it about art that gives it the power to effect change? It seems that creativity and beauty has the capacity to attract people to itself, indeed, as far back as the sixth century BC. Confucius recognised this power. He even considered people that are indifferent to art as only half human. It was art's power to transform human nature in the direction of virtue that impressed him.

Even in a time of economic downturn when the arts are often the first to be cut in educational curriculums and is generally thought expendable, this power to attract, is manifested. In a recent symposium held at the Bermuda National Gallery on the topic of Museums in times of economic downturn, one participant, the director of the Metropolitan Museum of Art in New York, Dr. Thomas Campbell observed that, contrary to what might be expected, attendance at the Metropolitan Museum during the past year had actually increased. This is not solely a "Met" phenomenon, however. The American Association of Museums reports that in 2009, museum attendance across the country also increased over the previous year.

Interestingly, in most major metropolitan centres, such as New York and Boston, statistics consistently indicate that attendance at cultural events vastly outstrips attendance at sporting events. Indeed, a recent New York Times article reported that in the US, attendance at sporting events amounted to 140 million annually, whereas 850 million attended museums. On top of that, add the attendance at other cultural events, such a concerts and theatres.

In recent years, America's nonprofit arts industry generated $134 billion in economic activity every year, resulting in $24.4 billion in Federal tax revenues and 4.85 million full time jobs.

Of what benefits is this information to us in Bermuda? Consider the fact that the northeast quarter of the US is our primary focus for attracting tourists and given the attraction the arts have for this population, it seems that we could and should make better use of this locally underutilised resource, namely our artists and arts facilities.

Bermuda is not lacking in artistic talent, indeed, when you consider all the arts, music, drama, dance, writers, as well as the visual arts, the Island has undergone a considerable renaissance in recent decades, but with enlightened patronage much greater possibilities are attainable. Government's current annual budget for culture is no more than a token. Much of the financing of the arts in Bermuda comes from the private sector, but Government support is also needed, if we are ever to come near to meeting our potential. We require a partnership for the arts from both the private sector, as well as from government.

I realise that this is not the best of times to seek for increased patronage, yet, Bermuda's current economic situation demands we reconsider all the varying skills at our disposal and what each can contribute to the betterment of our community. This includes the arts. The times require creative imaginations.

What is possible? I remember, back 20-odd years ago, when a group of us were attempting to establish a National Gallery. That was also a time of economic recession and the idea of taking on such a major art project seemed almost overwhelming; yet with the fundraising skills, primarily of Jay Bluck, we were able to reach our financial goal and establish this important institution.

Why is Government so parsimonious in regard to the arts? I hardly think it a deliberate policy. It must be due to ignorance as to what the arts can contribute to building a civilised community. Consider the current situation. Consider the fact that our athletes are sent to sporting events, here, there and everywhere, whereas, our artists are largely overlooked. They too, would benefit from international exposure, but when I approached the Ministry of Cultural Affairs about having Bermuda represented at Carifesta, which is taking place in the Bahamas, October 2010, I was told that there was no money for such an undertaking. That is only one example.

It has come to my attention that numerous Caribbean islands, including Barbados, Jamaica, Virgin Islands, Aruba and even tiny Saba have sent participants to the biennial at San Paolo, Brazil. This is the second oldest art biennial in the world and one of the most prestigious. Why has Bermuda not participated? We send our students abroad to study the arts, but when they return there are no suitable working facilities, such as space for studios, for the visual artists, yet there are buildings in the Dockyard, that are empty and falling apart.

The Dockyard could, like Beacon, be a creative community and an attraction to visitors. The same can be said for St. George's.

Bermuda's artistic potential is enormous, but in order to meet this potential, it will need direction and support.

This is where Government should be leading out, first as a partner with private organisations in raising financial support for the arts and then by working with the already existing cultural organisations, to help find ways for participation in such events as Carifesta or the San Paulo Biennial and other, similar functions. Give the arts a chance.