Katie Gilman grew up in Portland and lives in New York City.

“We’re going to rebuild the stages, reopen the rehearsal halls and bring thousands of performances back into our small towns.” This is an echo of President Trump’s speech about bringing back factory jobs. But the idea of politicians saying this about expanding the arts in rural Maine seems unimaginable. As someone who grew up in Portland, I can attest that the performing arts shaped my childhood.

Maine’s failure to treat the arts as an economic powerhouse has created an opportunity gap in its rural regions. Reframing the arts as a driver of sustainable economic growth would enhance workforce pipelines and revitalize community identity.

Maine’s creative industries — museums, performance theaters, crafts and more — account for over $2.5 billion of the state’s GDP and employ more than 18,000 workers, demonstrating a sizable, scaled economy. Yet Maine consistently ranks among the lowest-spending states on the arts, and this shortfall is felt most in rural areas, where over 60% of Mainers live. The state’s rural regions are the most affected by social isolation, and their local economies struggle more than those in the urban areas. The arts can help with both problems, but most Maine arts funding is allocated to Greater Portland, leaving rural communities without access to these powerful economic benefits.

Venues and festivals in Maine generate a whopping $550.3 million annually. In rural regions, where long-established industries such as logging are slowing, the arts function as essential economic infrastructure. Maine’s underinvestment represents a huge, missed opportunity.

Mainers don’t just need the arts for economic growth; they also want the arts. The state ranks second in the nation for creative participation. An impressive 42% of Maine adults attended live arts performances in 2022, meaning almost every other adult you pass on the street participates in the state’s arts community. This rate rivals or exceeds that of nearly all states, most of which have significantly higher cultural budgets.

Art is not a niche interest; it’s a statewide market. Even as Mainers demonstrate high interest and participation levels, the arts infrastructure in rural Maine does not exist to meet the population’s wants. The demand is statewide, yet the supply is uneven, heavily favoring Portland — a gap that weakens rural community identity and hinders economic opportunity.

Art is how humans express their lived experience and engage with one another to make meaning of life. People in rural regions have fewer opportunities for organic human interaction. This is why arts initiatives are so essential to revitalizing these communities. Especially during Maine’s long winters, residents in rural regions deserve arts centers that serve as welcoming spaces for cultural life. National research on rural creative placemaking reveals that towns greatly benefit from the arts by honoring local traditions, infusing new energy and enthusiasm and fostering community connections. Arts infrastructure is critical for creating engaged and invested communities. 

Opponents might argue that Maine is funneling enough resources into the state’s art economy. After all, Portland is nationally recognized for its vibrant arts scene, and programs like Maine Expansion Arts awarded over $130,000 in rural grants in 2021. But a few scattered programs do little for the community. Comparatively, $5.6 million in government grants was allocated to arts and culture initiatives in Portland in 2024. What we need is a statewide strategy. One that revitalizes rural areas by investing in local venues, nonprofit arts programs and creative workforce pipelines.

The arts have gotten me where I am today. I have the stages that I grew up on to thank for my self-confidence, the piano lessons I took in my neighbor’s house for my discipline (and speedy typing skills) and the girls’ choir I joined for my ability to build community with my female peers.

Had I grown up in rural Maine rather than Portland, I wouldn’t have had easy access to those formative opportunities. They weren’t only formative to me, but to the state’s economy.