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Joe Patti

I have been writing Butts in the Seats (BitS) on topics of arts and cultural administration since 2004 (yikes!). Given the ever evolving concerns facing the sector, I have yet to exhaust the available subject matter. In addition to BitS, I am a founding contributor to the ArtsHacker (artshacker.com) website where I focus on topics related to boards, law, governance, policy and practice. I am also an evangelist for the effort to Build Public Will For Arts and Culture being helmed by Arts Midwest and the Metropolitan Group. (http://www.creatingconnection.org/about/) My most recent role is as Theater Manager at the Rialto in Loveland, CO Among the things I am most proud are having produced an opera in the Hawaiian language and a dance drama about Hawaii's snow goddess Poli'ahu while working as a Theater Manager in Hawaii. Though there are many more highlights than there is space here to list.

Well Done Rare Medium

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It is pretty widely acknowledged that people who work for non-profits do so for intangible benefits like a feeling of contributing to the betterment of society and self-actualization rather than rewarding levels of remuneration.

Of all the benefits non-profit workers feel they get from the work they do, compliments are probably not one of them. A story in Harvard Business Review noted that two research efforts found that while people felt that compliments were beneficial and should be given more often, many people refrained from expressing compliments to others.

…we consistently found that people underestimated how good their compliment would make the recipient feel. Compliment-givers tend to believe the other person won’t enjoy their interaction as much as they actually do; in fact, they often believe that their exchange will probably make the person a little uncomfortable. Yet, consistently, receiving a compliment brightens people’s day much more than anticipated, leaving them feeling better, and less uncomfortable, than givers expect.

[…]

In fact, only 50% of people in one experiment who wrote down a compliment for a friend actually sent the compliment along when given the chance, even though they’d already done the hardest part — coming up with something nice and thoughtful to say. That is, despite the widely shared desire to give more compliments, when faced with the decision people still often forgo low-cost opportunities to make others feel appreciated and valued.

Among the concerns people had were that their delivery of the compliment would be awkward and that repeatedly giving compliments on consecutive days would diminish the value of the praise and be perceived as increasingly insincere.

The authors conclude by noting that gratitude and praise is especially important now more than ever and advocate for creating a culture of gratitude:

As Aron Ain, CEO of Ultimate Kronos Group has said, “Gratitude is not about a one-time holiday party, day off, or spot bonus…It is about creating a culture of gratitude.”

(Title of this post is based on a recollection of a clue in a Hardy Boys book from ~40 years ago where the antagonist writes a note congratulating a fortune teller.)

Would You Start Taking Piano Lessons From A 14 Year Old?

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A few weeks ago economist Tyler Cowen discussed how he had taught chess when he was 14-15 years old. His regular clientele were two adults in their 50s and 20s and a child prodigy around 10-11. He said he would have likely had more students if it weren’t for transportation issues.

My first thought was to wonder if anyone, especially and adult, would ever pay a teenager to instruct them in an artistic discipline. I don’t know about acting or visual arts, but by 14-16 there are some pretty skilled dancers and musicians out there.

Yes, I know there are summer camps, etc where teenagers are placed in a position of teaching younger kids, but I was thinking more along the lines of hiring someone in your hometown to provide lessons.

Cowen does admit that his situation was something of an outlier, but only because he felt most teenagers would assume no one would take them up on the offer rather than just offering their services. It also doesn’t appear that Cowen was necessarily exceptionally skilled. He said he stopped teaching when he stopped playing chess and characterizes it as something of a transactional decision. But that might be adult Tyler imposing his economist bias on his memories.

It has long been recognized that teaching your skill to someone else improves the teacher’s understanding of that skill so there is a benefit to teens hanging up a shingle and offering to help people get started.

Looking at some of Tyler’s reflections on his experience, there seem to be applicable parallels to teaching an artistic discipline.

2. Chess teaching isn’t mainly about chess. A chess teacher has to have a certain mystique above all, while at the same time being approachable. Even at 14 this is possible. Your students are hiring you at least as much for your mystique as for the content of your lessons.

3. Not everyone taking chess lessons wanted to be a better chess player. For some, taking the lesson was a substitute for hard work on chess, not a complement to it… Some of the students wanted to show you their chess games, so that someone else would be sharing in their triumphs and tragedies. That is an OK enough way to proceed with a chess lesson, but often the students were more interested in “showing” than in listening and learning and hearing the hard truths about their play.

4. Students are too interested in asking your opinion of particular openings. At lower-tier amateur levels of chess, the opening just doesn’t matter that much, provided you don’t get into an untenable position too quickly. Nonetheless openings are a fun thing to learn about, and discussing openings can give people the illusion of learning something important, if only because you can share opening moves with the top players and thereby affiliate with them.

As I read these, (Cowen offers seven insights in total), it seemed that paying attention to why people took lessons had a lot in common with why people attend performances. Some people want to improve, but others’ goals are to obtain a lesser degree of knowledge, mastery and affiliation with the people and practice of those skill sets.

Gaining an understanding of these motivations from the point of view of a teacher, even if it is in retrospect as an adult, might help artists do a better job of relating with audiences as an adult.  There is a difference between understanding what audiences want having learned it from teachers and mentors who are providing their worldview and reflecting on direct experiences you had before your perceptions were colored by years of formal training.

I think about the tasks I resented having to do and the difficult experiences I had when I was a young kid and a teenager that I would later realize gave me a competitive advantage when interviewing for a job. Now I resent that the foul medicine turned out to actually be good for me.

Is This “Yes, And…” Problem Solving?

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A couple weeks ago I caught Thomas Wolf’s blog post about why Concert Companion, the hand-held device that offered commentary synchronized to the performance content, had failed to gain wide distribution. I really appreciated the information. I have written about Concert Companion’s lack of traction among orchestras but Wolf provides far more detail than I was ever aware of.

Wolf suggested reviving the practice with modern technology and setting it during rehearsals instead of performances.

Rehearsals offer one of the best ways to learn about music. You not only get to hear a work being played, but you can gain insights into how musicians think about a piece as they work on it. However, observing an actual rehearsal, without some help about what is going on, can be downright frustrating if not boring. Musicians talk to one another in ways that are difficult to hear and even if they are miked (which many of them find distracting), they often talk in musical shorthand that a non-musician doesn’t understand.

[…]

Now imagine that you are sitting in a real rehearsal (or watching it on a screen) and a trained musician who is not playing is offering commentary in real time that you can read on a screen. For example:

The musicians just stopped and are discussing whether a repeated passage should have an echo effect the second time it is played. They are going to try it that way. Listen to the effect when they play that thematic material boldly the first time and quietly the second time.

or

The basses and cellos are in unison here and they are trying to make sure they are in tune with one another. That is why they are playing those notes so slowly. Each player is adjusting his or her pitch until they get the intonation just right.

I didn’t think this really would solve some of the problems that Concert Companion faced. One of the things Wolf identified as a problem was that it needed a trained person present to advance the notes in synch with the music and that was an additional expense orchestras couldn’t afford. Wolf’s suggestion of having someone writing live commentary requires someone even more highly trained to provide high quality insight on a moment’s notice AND type quickly enough that the viewers receive the information in a timely manner.

I can tell you from experience that people underestimate the amount of time it takes just to type in supertitles for an opera and then get that to synch up correctly. While the commentary wouldn’t have to synch quite as well, that is still a tall order. It seemed to me there would be a greater cost in time, energy and funding.

I was prepared to write a post about it when Drew McManus beat me to it, and worse, he liked the idea.

It wasn’t until the end of his post that Drew provided the obvious answer. He mentioned that 20 years ago he had been organizing outings to live rehearsals where they would sit far enough from the stage to avoid interrupting things. Today you can put people in the audience with their cellphones and earbuds, set up an audio only Zoom meeting, and have an interactive conversation with one or more guides to learn more about what was going on.

This still requires a trained staff member, or as Drew suggests, a super fan, but would present far less of a scramble to provide content.

The obvious extension of this is that you can do the same thing at a final rehearsal for a live performance of any genre. Live streaming a rehearsal with commentary to even a small group of people watching from home might be problematic until things can be worked out with rights holders. However this could enhance the value of seeing a performance live and expand the core audiences for an organization.

As I wrote this, I recognized I am the third person in a chain adding an idea about how to solve a problem. Is this “yes, and..” problem solving?

What Does It Mean To Have Influence

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I saw an article containing an interview with choreographer Robert Moses that basically opens with Moses saying the conversations occurring regarding equity are addressing the wrong questions.

How to increase equity? “Ask different questions,” is the reply from Moses. Or preferably, don’t ask the same tiresome questions.

“The notion of change is sophomoric,” Moses says. “The idea is to give people honest opportunity to be part of whatever they’re intending to be a part of. The questions get tiresome because they come from the same place. It’s not interesting if it doesn’t have anything to do with what needs to happen.”

Moses poses a question of his own: “Should we have more representation? No, we should have more influence. More actual ability to exercise that influence and power. All those things will be happening for the better of everyone,” he says, heavily emphasizing the “everyone” in his declaration. “It has to be in as many hands as possible… It’s about talk that’s useful. An organization that powers those things is what I care about. The conversations then can take place that move us all. We’re not spinning our wheels and using portions of a cultural experience to affix something to the moment.

I’m not exactly sure I completely understand what he means. Which is good I guess, because if I thought I knew what he meant, I might stop considering the larger implications of the statement.

If influence and power in as many hands as possible isn’t more representation, what is it? It is obvious that representation can be employed superficially, but so too can pursuing talk and conversations that is useful. Often both can feel like progress when they are just the appearance of progress. So isn’t productive work in representation and/or conversation valuable?

The distinguishing element that sticks out to me is the mention of “…using portions of a cultural experience to affix something to the moment.” That seems to reproach focusing on creating standards based on conditions at a specific time versus embracing broader, long term goals. For example, the idea that you are done when the composition of your board reflects the demographics of the community versus the broader goal of seeking to create an environment where power and influence are shared in the broadest terms possible.

Anyone else want to share their thoughts?

Latest Shuttered Venue Grant FAQ Provides Increased Detail

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While I am sure a lot of performing arts venues have been closely paying attention to news about Shuttered Venue Operators Grant (SVOG) program designed to help arts organizations impacted by Covid shutdowns, you probably wouldn’t have expected a major update to a government department’s FAQ document to be rolled out on a Sunday.

There was a major update to the SVOG FAQ on Sunday.

It isn’t difficult to identify what information is new because anything that didn’t appear in the February 12 update has a * next to it.

This version answers a lot of questions I have heard asked in webinars, including specific information about the eligibility of performing arts venues run by university, state and local governments. Similarly, there is detailed information which apply to museums.

The February 28 version also provides new definitions for a lot of terms like museum, promoter, regular programming, theatrical producer, performing arts organization operator, cover charge, mixing equipment, lighting rig, sound engineer, etc.

The question of what constituted fixed seating came up a lot in webinars I attended because it is a significant requirement to receive funding in some instances. In this version they added the following information:

*Would heavy bleachers pushed back against the wall when not in use but never removed from a theater qualify as fixed seating?

Yes. Any cumbersome seating not easily or regularly removed from a theater will be considered fixed.

While there is a requirement that people be paid fairly in the legislation, earlier versions of the FAQ explained that volunteer labor did not exclude a venue from apply if the staff managing the venue were paid. This means that many community theatre organizations may also be eligible for SVOG funding.

The FAQ that illustrates this best is probably the following, which also appeared in earlier versions:

If a venue’s box office is staffed by volunteers is it eligible to apply? Yes. Among the criteria included in the live venue operator or promoter definition is a requirement that a qualifying venue must engage at least one individual to perform at least two of the following roles: sound engineer, booker, promoter, stage manager security personnel, and box office manager. The Economic Aid Act does not reference any hired box office staff other than a box office manager and does not absolutely require even that position. As such, the use of volunteers to staff a venue’s box office would not preclude it from being eligible to apply for an SVOG.

There is also some oddly specific questions that makes me think the legislation was intentionally written to provide eligibility to a corporate entity.

Does a live venue operator who qualifies as an “eligible person or entity” remain eligible for an SVOG if that live venue operator has a minority investor (less than 51% ownership) that has more than 500 employees, locations in 11 or more states, and locations in 2 or more countries? Is that the only ownership/control-related grounds for disqualifying someone?

Yes. The Economic Aid Act speaks only of majority ownership and control in the context of the disqualifying conditions related to being listed on a stock exchange or to the geographic scope of operations and number of employees. There are no other control requirements in the statute.

If you hadn’t researched SVOG funding or didn’t think you qualified, the latest version of the FAQ should provide a greater degree of clarity than any previous version. (Though the additional detail may dash the hopes generated by the previous vagueness.)

What Does My Phone See?

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I visited a new exhibition presented by my local art museum this weekend. While I was wandering the galleries, I overheard a small group talking about their interpretation of the meaning of different pieces. Looking at those same pieces, I had no idea where they were drawing those conclusions from, though based on the common theme in the comments I thought they might be medical professionals.

I caught up with them in one of the rooms and they asked what I thought the image in two of the pieces might be. I took a picture of one of them, but based on the museum’s policy on reproduction of images outside of personal use, I am uncertain about posting it here.

The artist had bent a grid of white lines on a black background to create a silhouetted image on a canvas. I couldn’t find the exact works on his site, but an example of the technique is seen here. Except the forms of the works in the museum were not quite as distinctly identifiable as the house in that website.

At first glance at one of the pieces, I thought the image was an elephant’s head but a few seconds later I saw it could also be an angel in flowing robes and long stole.

The other image was even less clear and I was not at all sure what the jumble was. One woman decided to point her phone camera at it and was pleased to find that the image became more distinct on the canvas….but she still wasn’t sure what the heck it was.

After a few moments, to me it sort of looked like the frontal view of horses galloping toward the viewer, similar to the statue of three mustangs on the Southern Methodist University campus seen from head on.

When we were all pondering what we were looking at, I commented that the interaction we were having would never be possible if we took a digital tour of the museum. Not only that, we probably wouldn’t have been delighted by the mystery of the works caused by the vagaries of human vision, because the unflinching eye of the camera would have stripped that away as we had already seen.

Privately, I also thought that while I am generally against people using their phones to mediate how they experienced art, in this case it added to the experience. Part of that was due to the fact they didn’t default to pointing the camera at the wall before they had a chance to consider what they were looking at. After waiting and sharing theories about what we were seeing, then they raised their phones and recognized that the camera clarified things…though still didn’t provide definitive answers.

I am not trying to distill a central moral lesson out of any of this, though I certainly feel the in-person experience provides the most benefit. If there is a central lesson we have learned in the last year of Covid times, it is that we need to moderate and re-evaluate our expectations about what interactions with art and culture are supposed to be.

It’s A Year Later, Do You Know Where Your Marketing Is?

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Hat tip to Dave Wakeman for tweeting an insightful piece about marketing during Covid — Mine.

I know, self-involved much, Joe?

To be fair, all credit rightfully goes to Colleen Dilenschneider whose piece I was drawing attention to.

Wakeman revisiting an entry I made nearly a year ago provides a good check for the non-profit arts industry. In that original post, Dilenschneider talked about how to effectively shift messaging from “visit now,” to maintaining general awareness, if not cultivating an active engagement dialogue.

Now obviously the truth is more complicated than depicted in Wakeman’s tweet. The economics of digital engagement did not provide a sustainable revenue stream, even for the best resourced arts organizations. There were big loans, grant programs and donor drives. There were layoffs and cutbacks. Capacity to survive is not solely determined by a good social media and digital strategy.

That said, a good social media and digital communication strategy will definitely be a determinant of success when people start to wander back to participate in events and activities.

Now that we are reaching the year anniversary of everything closing, take time to evaluate what you have been doing. What has worked, what needs to be changed, what needs to be started.

Post title is from the iconic PSA series

Lifetime Token Payments As Next Form of Arts Funding?

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There has been an ongoing conversation in the visual arts world about the issue of an artist selling a work for $250, having it sell for $2500 five years later and then $25,000 five years after that due to the hype that has built up around their work, but the artist not benefiting from any of that.  The only thing that was added to the work to make it worth so much more than at the time of creation was a lot of hype and speculative manipulation to make it so.

There have been a number of ideas floated about ways to provide an artist a royalty of some sort every time a work is resold, but that depends on the work beings sold publicly and a lot of good will on the part of the sellers to remit the proper amount to the artist or their estate.

Or at least that is true for physical works of art. The was an article in Art Newspaper that discussed the use of non-fungible tokens (NFT) which accompany digital works as they are traded among different owners. Each time the work changes hands, the artist receives a royalty. Currently this process, including the payment, is all based in cryptocurrency technology—a medium whose value and stability fluctuates to far greater extremes than the art market. A royalty of $50 today could be worth 50 cents tomorrow and $5,000 next month.

There is a somewhat more complete explanation on this site, along with some art based examples (i.e. William Shatner digital collectibles will earn the erstwhile Star Trek captain royalties for years to come.)

While the technology and payment vehicles need further development to make them easier to use on a broader scale, I envisioned something like this being a way for performing artists and organizations to monetize digital content they create in the future.

I suspect the tools to do so will be widely available  and easy to use once big players in the entertainment industry like Disney realize the potential revenue stream available from issuing limited edition releases of content. Unlike the copy blocking encoding that made legitimately purchased recordings and games incompatible with DVD players and computers, companies will want this content passed around a lot if it means they can collect a royalty or create a profile of the people who are using and trading it.

If it works well for digital content, I am sure someone will figure out a corresponding method to apply to physical and live works.

This may put the same tools in the hands of artists and others in the creative industry and shift the dynamics of how we do business and interact with participants/consumers.

More Reminders About Importance of Libraries

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I was reading a story about the earthquake that hit Christchurch, NZ ten years ago today which damaged large parts of the city. According to the article there was a significant effort by the local government which collected more than 100,000 ideas from over 10,000 people about how Christchurch should be rebuilt, but those plans and ideas were discarded by the national government of the time. The basic theme of the article is that much of the development which has occurred in the last 10 years hasn’t revitalized Christchurch.

The one place where local input was included in the plan generated by the national government was Tūranga, a library and community space which looks pretty dang awesome. Not only are there cafes and play areas, but there is a lot of focus on indigenous Maori culture and art as well as a digital wall depicting Christchurch’s features, history and stories. It is easy to see why the facility is well-regarded by residents.

Before I took a deeper look at the library in Christchurch, I was immediately reminded of the State Library of Queensland in Australia which Nina Simon had spoken about in a TED talk about 4 years ago. I summarized her story in a blog post at the time.

…State Library of Queensland which built a gorgeous new white building and then invited aboriginal elders in to help them design an indigenous knowledge center. The elders noted that for them, knowledge wasn’t shared through books, but rather through music, dance and storytelling in a setting that wasn’t so sterile looking, most importantly around a fire. The librarians, true to their intent renovated a space for music, dance and storytelling and infused it with color. And they built a firepit (away from the flammable archives, of course).

Part of the reason I checked out the floor plan of the library in Christchurch is because I wanted to see if they had included anything like a fire pit at their library. It doesn’t appear that there is, but there are plenty of other facilities and equipment for sharing ideas and stories.

By the way, if you want to see pictures of the fire pit area in Queensland, they are on the library’s webpage. Scroll down to “Story Circle” heading. It almost doesn’t look like it is outside, but I found some YouTube videos of events and while it is nicely enclosed there is definitely a lot fresh air flow through the space.

The lesson here may be not to give libraries short shrift in the economizing that may come now or as we emerge from Covid restrictions because they are important community spaces.

One specifically arts related thing I wanted to note was the significant role the article said it played in helping people transition post-earthquake in Christchurch:

If you don’t live in New Zealand and you read about Christchurch in those years, most likely it was about the creative, guerrilla projects that popped up in the immediate aftermath of the quakes. Temporary site activations—Gap Fillers—brought life back to the empty gravel lots with music, performance, art, and community participation. These were almost spontaneous events, a community responding to challenging times however it could. They represented the best of the city, and inspired residents and visitors to believe that the new Christchurch that grew from the rubble of the old could be eclectic, engaging, and exciting.

 

Some Questions To Help You Enjoy The Show

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Nod to Dan Pink who linked to a study conducted among German university students which found that when students were provided a question to consider while learning material or were asked to create their own test questions on the material, they were better able to retain knowledge versus those who were asked to review their notes. The small sample size in the study requires that more detailed research is required.

But the weakness of the study doesn’t have much bearing on my post because it was only the starting point from which my brain made some wild leaps.

In considering how this might be applied in an arts and culture situation I recalled that many organizations already put out study guides which include questions to consider as you watch a performance. I know there is similar content in program books for shows.

And I pretty much ignore all of it. Maybe it is out of ego, thinking I can come to my own conclusions regarding what I am about to see or not wanting someone else to shape my perceptions.

Overall I suspect many other people might ignore/not see those questions as well. I likewise suspect that people might enjoy and understand unfamiliar content if they had some questions to consider bouncing around their head.

I started wondering if having questions posted on lobby monitors or on signs posted in restrooms or other strategic places might be the answer. Just one question or prompt to a screen or page in big font to catch the eye. There might be multiple questions peppered throughout the spaces, but no more than 3-4 in total. They should be focused on helping people understand and enjoy the show in a broad general sense rather than trying to focus on academic minutiae (i.e. “What do you think the color brown signifies?” )

Anyone have any thoughts about it? There has been conversation that a post-Covid world would eliminate printed program materials in favor of display screen/projected/virtual delivery so this somewhat dovetails with that as a potential practice.

What Does Your Typeface Sound Like?

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An appreciative nod to Thomas Cott for calling attention to San Francisco Symphony’s adoption of dynamic typeface as part of an effort to shift perceptions about the organization.  You are definitely going to have check out the article to get a sense of how dynamic typefaces differ from static ones. Until you see it, the following description may confuse you.

…an elongated serif typeface that, like music, shifts based on mood, context, and medium. The modernized brand is more friendly and accessible, widening the tent by targeting not just younger audiences, but an array of music aficionados, whether classical fans or not.

The team gave it a contemporary behavior, so “it can react, stretch, and skew and bend in reaction to sound.” Letters in the same word might be incrementally shortened or attenuated, so the logo, which reads “SF SYMPHONY,” arcs from left to right like a crescendo. Some words lean forcefully to the right for emphasis, like a pianist playing forte.

The full project information is on the website of their design agency, Collins. They have created a tool that will allow you to play with the typeface using your own audio input to see how it works.  Essentially, you can play music and then freeze the type at the point that seems the best visual reflection.

Obviously it leads me to wonder if this type of typeface manipulation might become more widespread in the near future. To some extent it makes design a little more difficult and requiring good judgment.  The best representation of a feeling via typeface may not work visually with images, nor may it be the most legible option for the full range of uses – what works on a billboard may not read well in smaller print format.

Open Arms With Grasping Fists Not A Welcoming Appearance

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So by now you have probably heard about the ill-advised job posting made by the Indianapolis Museum of Art at Newfields which said they were “…seeking a director who would work not only to attract a more diverse audience but to maintain its “traditional, core, white art audience.’”

My first thought was, this the type of faux pas that is bound to occur more often because organizations know they need to be more diverse but don’t have someone to advise them on diversity, equity and inclusion (DEI). Or if the company does, the staff member’s advice is either not heeded or the person doesn’t feel empowered to point out how problematic this type of language is.

Even though they were making a mess of it, I viewed it as a sign of progress that people were starting to say the quiet part aloud as it were, and admitting they needed to actively pursue creating a welcoming environment instead of claiming everyone is welcome and they don’t discriminate.

While the museum has revised the job description to omit the word “white,” I don’t think it helped matters that the CEO of the museum was quoted in the NY Times article saying that the use of “white” was “..intended to indicate that the museum would not abandon its existing audience as part of its efforts toward greater diversity, equity and inclusion.”

That makes DEI efforts sound like a zero sum game where one group must lose out if another group is to gain something. For years the message has been that arts and culture enriches everyone’s lives so theoretically diversifying programming should offer a broader range of opportunities for enrichment, correct? So why is there an automatic assumption and implication that someone is going to lose?

I think back to the talks Nina Simon has given where she talks about creating new doorways through which people can experience a cultural institution. She does mention that not everything is for everyone. Certainly given the limits of time, space and resources there is a good chance there will be less of some content. But if it was assumed everyone had the capacity to enjoy the content that was previously offered, they are likely equally capable of enjoying new content.

So of course, I should have known Nina would be able to summarize all of this in just a couple tweets.

 

Applying For Save Our Stages Money, Keep Close Watch On The Site

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I am hoping that all of you who work at a performing arts venue in the United States are like me and have been getting seven or eight emails a week making you aware of a webinar on the Shuttered Venue Operators Grant program aka Save Our Stages funding.

While it is difficult to know exactly all the information you will need to assemble, you definitely want to make sure your organization is registered with SAM.gov. Any grant from the federal government, regardless of which department’s website/system you apply through will require this registration and it can take up to two weeks to get verified. Since the application windows are only two weeks long, based on the amount of your losses, you don’t want to be waiting for your registration to clear.

You will need to know your DUNS number as part of the registration on SAM.gov so applying for/researching it could be another step in the process.

While the date when the application window opens hasn’t been set (as of this writing), information on the Small Business Administration site is constantly being updated so you almost have to make checking the program page a daily ritual.

For instance, the FAQ update for the SVOG program which came out February 5 had some significant updates from the FAQ that went out nine days earlier on January 27.

In January, the information for Museums was:

Museum Operator
1. Is a museum partially funded with state dollars eligible to apply?
Yes. While there are specific eligibility rules for entities owned by state or local governments, the receipt of funding from a state government does not affect its eligibility.
2. Is a museum that received CARES Act funding eligible to apply?
Yes. Per the Economic Aid Act, receipt of CARES Act funding does not disqualify an entity for SVOGs.

In the February 5 version it reads:

Museum or Movie Theatre Operator
1. Is a museum or movie theatre with a multipurpose room with movable seating eligible to apply?
No. The Economic Aid Act specifically requires fixed seating for qualifying amphitheaters of museums and motion picture theatre operators and makes no allowance for temporary, removable, modular, convertible, or other non-fixed seating arrangements. As such, museums and motion picture theatre operators cannot satisfy this requirement with other forms of seating. NOTE: There is no fixed seating requirement for other types of eligible entities.
2. Is a museum or movie theatre with outdoor fixed seating eligible to apply?
Yes. The Economic Aid Act does not require qualifying venues to be indoors. If the venue meets the applicable eligibility requirements, it should be eligible to apply for an SVOG.
3. Is a museum partially funded with state dollars eligible to apply?
Yes. While there are specific eligibility rules for entities owned by state or local governments, the receipt of funding from a state government does not affect its eligibility.
4. Is a museum that received CARES Act funding eligible to apply?
Yes. Per the Economic Aid Act, receipt of CARES Act funding does not disqualify an entity for SVOGs.
5. Is a drive-in movie theatre without fixed seating eligible to apply?
No. Per the Economic Aid Act, a motion picture theatre operator must have at least one auditorium with a motion picture screen and fixed audience seating, so a drive-in movie theatre is not eligible to apply for an SVOG.”

Number 5 was an individual answer in the January version and got wrapped in with museums, but the other additions are new content. If you are thinking about applying for this program, keep an eye on the website so you can be as prepared as possible in advance of the application period.

What Do You Perceive As Biggest Impediment to Equity Efforts?

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Advisory Board for the Arts had sent out a survey on Diversity, Equity, Inclusion and Access (DEI&A) efforts that non-profit organizations were undertaking. They released the results in infographic form this week.

Keeping in mind that the respondents were self-selected so there wasn’t a lot of rigor behind the process, the results are still an interesting preliminary view of what organizations perceive is going on with their efforts.

I was particularly interested in the pressures and challenges section where respondents indicated there was a lot of pressure to do more in relation to DEI&A across a number of internal and external constituencies. The biggest perceived source of pressure to do less is among board members and individual donors. Still there wasn’t perceived pressure either way from unions, donors, corporate sponsors, and audience members.

This all makes me yearn for a more complete study of the question. My suspicion is that groups who were already very interested in implementing DEI&A chose to answer the survey and so they were either inclined to view their efforts favorably or their constituencies were aligned toward DEI&A efforts to begin with.

However, it would be great if these results were close to reality because that would mean the impediment to change couldn’t necessarily be blamed on external groups. They are shown as largely indifferent in this area. Even board members who were seen as most in opposition to DEI&A efforts were more likely to be for or indifferent to them rather than against.

In terms of challenges and hurdles, the survey found that developing an authentic, rather than performative, stance and creating meaningful metrics to hold the organizational accountable were among the top concerns people had.

Stuff to ponder so take a look.

Why Are You Asking Me On Board?

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A piece I wrote on diversity efforts in board recruitment appeared on ArtsHacker last week. I primarily drew the content from a piece Jim Taylor, BoardSource’s vice president of leadership initiatives and education, wrote about his experiences being recruited for board membership.

He said his primary litmus test when being recruited to join a board is to ask what value he would bring to the board. He says this is a question anyone being recruited to join a board should ask. However, if the recruiter can’t provide a satisfactory answer that emphasizes his expertise or experience over his racial background, Taylor says he considers the real conversation is finished.

I quote the following in the ArtsHacker post:

Taylor observes that when people of color achieve something, it is often assumed a bar had been lowered to allow them to accomplish it. “So when a White board member recruits me and effectively diminishes the totality of my assets and qualifications to one aspect of my identity – my race–… I am still being seen as “less than”.

I go on to note that white board members have often been recruited based on their ability to garner financial support or exert influence on behalf of the organization rather than expertise they may bring to the table and no one questions their qualifications, mostly because their identity is viewed as the default norm.

My organization recruited new board members a few months back and I made an effort to specify what elements of people’s experience and background we felt was beneficial to the organization. I don’t believe I had read Taylor’s piece at that time.

However, in on a recent grant application where we were asked to discuss how we were diversifying our board, I did burn through a good portion of the precious character limit enumerating the value each of our new board members brought with them, mindful of Taylor’s article and wanting to make a small contribution toward mainstreaming this thinking.

As governance and equity become increasingly important considerations for non-profit boards, what someone brings is likewise a significant question all parties should be asking.

 

Many Lens of Board Recruitment

The Secret Lives Of Museum Tour Guides

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Long times readers know that when I was living in Ohio I had a close relationship with a local group called the Creative Cult. We did a number of projects together and I participated in the events they sponsored. The local art museum wisely decided to bring one of the cult’s inner circle, Nick, on staff and he has been making some great contributions to the organization.

This week the museum has made a series of Facebook posts under the title “Things Written At The Front Desk,” with some pictures from Nick’s journal/sketchbook and other projects he has worked on while at the desk. Today was the second post in the series and really caught my attention because it featured Nick’s illustrations of a guide to a gallery exhibit.   At first I was excited because I thought perhaps the museum had reopened for socially distanced exhibitions, but the guide was made for a pre-Covid exhibit.

Regardless of when it was made, the concept of walking into a museum and picking up a guide to an exhibition which was hand illustrated by one of the people greeting you struck me as something that would make the whole experience feel more welcoming and accessible.  The pamphlet Nick illustrated reflects his quirky aesthetic, presenting the visitor with Marty, a cartoon figure who will accompany on your journey complete with a map of Marty’s suggested route through the exhibition.

Then things take a strange turn and some of the illustrations reference to Marty’s diary and a beast being hunted down by a classic mob armed with pitchforks and torches. Clearly the whole guide isn’t depicted so we are missing parts of the story, but that makes you want to learn more, right?

Not only that, wouldn’t you be interested in seeing a museum exhibition framed by an information pamphlet that implied your tour guide may have a monstrous alter-ego….or perhaps it was all just a strange dream?

https://www.facebook.com/southern.ohio.museum/posts/5655438514481520

 

Reconnecting After The Highways Get Disconnected

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This week CityLab mentioned that the US Senate was working on funding a program to reclaim areas of communities displaced/demolished/bifurcated by highway projects as those roads are decommissioned.

As Streetsblog reported on Jan. 11, the Economic Justice Act, a spending package worth over $435 billion, includes a $10 billion pilot program that would provide funds for communities to examine transit infrastructure that has divided them along racial and economic lines and potentially alter or remove them. It would also help pay for plans to redevelop reclaimed land. The program contains specific language requiring projects funded through it prioritize equity and avoid displacement. It also provides grants meant to facilitate community engagement and participation as well as construction.

I immediately recognized that there was a sizeable opportunity for arts organizations to be involved, if not lead, the facilitation of community engagement around these efforts. I had written about 500 Plates, a project that literally brought people from every neighborhood in Akron, OH to a long table down the center of the highway in question to discuss what should happen after the highway was permanently closed to traffic.

Of course, I also thought about Springboard for the Arts’ Irrigate program which prepared 600 local artists to go out along the route of a new light-rail line in an attempt to mitigate the negative impact the construction might have on the residents and businesses.

I live in a community where the width of the interstate is expanding, increasing the displacement that occurred in the 1960s & 70s and we are looking into ways to employ creative expression to address the ongoing conversation about blight. So there are opportunities to spark conversation and action on both ends of the spectrum. However, it sounds like there may be actual funding available to conduct conversations about reclamation and repurposing.

What Outcome Had The US Have Sustained Its Version Of The BBC?

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Back in December, Joseph Horowitz had a lengthy piece in The American Scholar about the impact of the pandemic on the arts in America. I may revisit the article in future posts, but there was one section that caught my attention because it seemed a testament to both the influence of a shared cultural ideal and the power of leaders who advance an agenda.

Horowitz writes that while there was resistance to government run media a la the BBC, there seemed to be enough will and interest post-Works Progress Administration to support programming featuring public intellectuals and artists.

A little-known footnote to this 1930s saga of the artist and the state was an unsuccessful campaign to implement an “American BBC,” … An alliance of university and radio leaders argued that a public radio system would ghettoize education. “Controlled radio” was also denounced as a “threat to democracy.” Crucially, David Sarnoff and William Paley, leading NBC and CBS respectively, were visionaries for whom an educational mission incorporating culture was a genuine priority, whatever its commercial liabilities…

Later, when TV entered the picture, CBS initiated Leonard Bernstein’s Omnibus specials and Young People’s Concerts, and Sarnoff created an NBC Opera offering innovative productions of opera in English. But Paley retired as president in 1959, Sarnoff in 1970; their successors gradually abandoned the high mission at hand. PBS and NPR, ironically, have offered nothing remotely as ambitious as the arts programming CBS and NBC once championed. If American arts audiences today compare unfavorably with audiences elsewhere, the minimal role of the state—the cumulative absence of an “American BBC”—is far from irrelevant.

I frequently hear people extolling Bernstein’s Young People’s Concerts and wonder why no one tries to replicate them since they were so well-received, but Horowitz’s piece recounts how the lack of investment, both in terms of general policy and economics, allowed both opportunity and popular will and interest in these experiences to wane.

Even though the Western canon of arts and literature were lionized to the exclusion of others during this era, a different infrastructure would exist today to amplify a shift telling a broader range of stories had focus and investment been sustained.

Horowitz’s conclusion near the close of the article is that the upheaval cause by the pandemic has provided another set of opportunities to effect enduring change if we are ready to take it.

Heavy Lifting of Leadership Occurs Before Baton Is Raised

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A week ago I cited a couple of posts Seth Godin had made about leadership. I and other readers were taken by his statement that leadership is a voluntary, risky and creative endeavor.

Since then he actually made a post about leadership that is directly related to the arts, using the what the public sees of an orchestra conductor vs. what the time and effort that under girds their appearance as a metaphor for all leadership.

(Just to note, I don’t know his characterization of what conductors do is completely accurate and exclusive to conductors within an organization, but trust the reader will get the overall meaning.)

Godin opens by saying the quality of a conductor is judged in one-two hour increments in which they wave a small stick and don’t make any noise. However, among the things great conductors do are:

Conductors set the agenda.

They amplify the hard work and esprit de corps of some, while working to damp down the skeptics within the organization.
They figure out which voices to focus on, when.
They have less power than it appears, and use their position to lead, not manage.

They transform a lot of ‘me’s’ into one ‘us’.

They stick with it for decades.

It’s a form of leadership that happens in private, but once in a while, we see it on stage.

In the interests of not copying and pasting 3/4 of a blog post, this is only an excerpt of his list. The gaps indicate where some of the omissions fall. Take a look at the full post if you are interested.

Like the posts I quoted last week, Godin’s view of leadership is one of generosity and humility that doesn’t seek the limelight or employ some form of duress to accomplish an objective. Though there also seems to be an implication that recognition is a natural reward for taking on the risk and work of being a leader. I am not sure that is entirely accurate in practice–especially when faced by people who employ or value the opposite characteristics.

Creative Expression As The Basis For Inclusive Democracy

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I came across a TED talk video on the importance of creative industries to national governments not five minutes after I had a conversation with staff on that very topic.

Mehret Mandefro talks about how she contributed to making creative industries a central part of Ethiopia’s plans to provide employment opportunities for the segment of its population experiencing the greatest growth, 15 to 29 year olds.

She notes that typically arts and creativity are seen as nice things to have, but not essential.  She disagrees and feels it is not only important for economic development, but also social identity and political stability. While she hadn’t intended to do so when she moved back to Ethiopia, Mandefro found herself essentially building a training program for creative workers from the ground up. (Demonstrated by the video of this talk.) That lead to her eventually participating in the generation of policy recommendations for creative industries for inclusion in the National Jobs Action Plan.

Now, putting culture on the economic agenda is an incredibly important milestone. But the truth of the matter is, there’s far more at stake than just jobs. Ethiopia is at a critical juncture, not just economically but democratically. It seems like the rest of the world is at a similar make-or-break moment. From my perspective on the ground in Ethiopia, the country can go one of two ways: either down a path of inclusive, democratic participation, or down a more divisive path of ethnic divisions. If we all agree that the good way to go is down the inclusive path, the question becomes: How do we get there?

[…]

…Artists have long found ways to inspire inclusion, tell stories and make music for lasting political impact. The late, great American hero, Congressman John Lewis, understood this when he said, “Without dance, without drama, without photography, the civil rights movement would have been like a bird without wings.”

…I think any government that views arts as a nice thing to have as opposed to a must-have is kidding itself. Arts and culture in all of their forms are indispensable for a country’s economic and democratic growth. It’s precisely countries like Ethiopia that can’t afford to ignore the very sector that has the potential to make the greatest civic impact. So just as John Lewis understood that the civil rights movement could not take flight without the arts, without a thriving creative sector that is organized like an industry, Ethiopia’s future, or any other country at its moment of reckoning, cannot take flight. The economic and democratic gains these industries afford make the creative economy essential to development and progress.

TikTok As A New Employee Training Manual?

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Daniel Pink made a tweet today that I immediately bookmarked so I could go back to it.

I hadn’t noticed at the time that this was year-end summary type article that reviewed the best advice entrepreneurs had given in 2020. There are a lot of interesting bits of insights covered here, some of which are more applicable to arts organizations than others.

The “What Would Your Replacement Do?” question referenced in Pink’s tweet was one of those with broad application. It refers to a mental exercise Upstart co-founder Dave Girouard would use to keep himself from getting too complacent:

…what would happen if tomorrow my board got together and fired me,” says Girouard….And if they bring her in and she starts at Upstart — what would she do differently than what I’m doing? I think about that for a while, and then I tell myself, ‘Why the hell aren’t you doing those things?’ It’s just this weird game I play to get myself to recognize that while I’m doing some things okay, I can be lulled into a place of feeling good about myself when I’m probably not doing some other things very well.”

The first bit of advice on the list caught my eye because it was a list of 40 questions to ask on interviews. The list is obviously written for the commercial sector and pretty heavily geared for start-ups there were still quite a number that would easily suit non-profit arts.

Things like: “What’s something that would only happen here but wouldn’t at other organizations?”, “When you’ve done your best work here, what about the culture has enabled you to do that?”, “What would 1:1’s be like with my direct manager? What types of topics would we discuss?”, “What is the title of the most senior underrepresented person at the company?”

“If I asked your investors what they’re worried about, what would they say?” –this one caught my attention because I immediately thought to replace “investors” with “board” which got me thinking about how well the organization might be communicating issues with the board and if the board was paying attention.

An article about Job To Be Done (JTBD) also caught my attention based on the statement: “People don’t simply buy products or services, they ‘hire’ them to make progress in specific circumstances.” This is often the case with people and arts and cultural experiences. People value the experiences across multiple dimensions.

Sunita Mohanty, who was interviewed for the article said she often uses the following prompt in relation to product development.

Which she says translates into the following: “Peloton JTBD: When I need an option to workout, but I can’t go to my favorite studio, help me to get a convenient and inspiring indoor workout, so I can feel my best for myself and my family.”

Off the top of my head, the way this might translate for an arts situation might be: “When I am seeking opportunities to spend time connecting with my family and friends, but I have trouble identifying places we feel completely welcomed, help us see ourselves and our stories so we feel acknowledged and valued in the broader community.

There is a lot of really valuable advice about hiring, evaluation, office culture, and diversity and inclusion listed in the article. As tempted as I am to cover them all, I don’t want to make this post super long. Many of the ideas intersect with other posts I have made or other articles that are out there.

But one idea that never came to my attention before was use of asynchronous video tools as a form of communication and new hire training.

In the early days of building Drift, I was using WhatsApp all the time. It was easy to record and send videos quickly. And so I started to communicate to my senior leadership team mostly asynchronously through video and audio messages,” says Cancel. “If we have a problem, we’d make a quick video on what we sucked at, how we fixed it, the results, and what we learned.
[…]
But Cancel has also noticed other benefits. “It allowed me to really think through what I was saying, versus just getting in a room with someone or having a back and forth in text messaging or a phone call,” he says. “It was the sharing aspect that really made it an effective tool for us — all of a sudden we had old videos on different topics that we could share with people who were starting their journey at Drift in their onboarding process…getting everyone focused, and helping folks understand why we were making decisions, giving us an ability to be transparent in a way that we couldn’t before.”

Given that so many people feel comfortable making videos of every little move they make, this struck me as a pretty viable practice in arts organizations and one that might even inform creative works.

You Say Capt. Kirk Was Unqualified? That’s What Made Him A Leader.

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In December Seth Godin made two posts titled Creativity Is An Act of Leadership. The second of the two added (Redux).

I am a little leery of the trend in articles which label leaders as doing constructive things and managers being dedicated to the status quo. It smacks of the No True Scotsman fallacy.

Not to mention, there are so many articles with these lists, you would be hard pressed to keep track of what you are supposed to be doing lest to backslide into managerial morass. I prefer to think of the qualities attributed to leaders as things one should aspire to so you don’t get caught in a destructive cycle of self-recrimination if you occasionally want to spend time not reinventing the wheel.

That said, these are some of the things in Godin’s posts I liked. It resonates with work environments at artist organizations, especially as many move toward a more shared governance dynamic. Though there are still plenty of places with structured tiers of authority.

Leadership is voluntary. It’s voluntary to lead and it’s voluntary to follow.

When you have power and authority, it’s tempting to manage instead. Managers get what they got yesterday, but faster and cheaper. Managers use authority to enforce behavior.

But leadership involves acting as if. Leaders paint a picture of the future and encourage us to go there with them.

Which is what anyone who makes change through creative work is doing.

[…]

For too long, we’ve been confused about the true nature of leadership. It’s not about authority at all. It’s the brave work of inventing the future.

The second post is similar, but it focuses more on the theme of how leadership is like creativity in that you are constantly pushing into uncharted territory. The idea of leaders being those who stretch beyond their qualifications is intriguing. At the same time, the sentiment has long been enshrined in the opening narration of Star Trek episodes about going where no one has gone before.

If you feel like an impostor, it might be because you’re comparing yourself to a manager. We want managers and craftspeople to know precisely the steps that are involved in their work, and we want them to do it flawlessly.

Leaders, on the other hand, can never be qualified, because they’ve never done this before.

And creators — creators that don’t have a fancy job or aren’t given the label of “leader” — the same thing is true for them.

You don’t need a permit or a badge or a title to be a creative. You simply need to care enough to do creative work.

[…]

The next time you’re stuck being creative, perhaps it pays to substitute the word ‘leader’. And yes, the next time you’re stuck being a leader, perhaps it makes sense to use the word ‘creator’ instead.

Going Corporate

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Drew McManus came out with a really strong entry in his Shop Talk podcast today. He talks about transitioning from a non-profit arts career to a commercial career with guests Marc van Bree and Ceci Dadisman, who shifted from orchestra/opera to companies which handle e-commerce shipping and real estate, respectively.

Some of what they say is a little hard to hear. Van Bree and Dadisman talk about the lack of investment/mentoring in employee skill and professional development in non-profits and the low tolerance/preoccupation with failure and mistakes. While this can definitely be attributable to lack of resources and the recording could support a plea to funders to allow money to be used in this area, the guests suggest there are fundamental practices non-profits are failing at that no expensive CRM can fix.

While he was reluctant to use the word “regret,” van Bree said he wonders how much further along in his career he would be if he had started in the commercial sector rather than non-profit.

As the conversation moves on the guests, acknowledge that a corporate environment can be extremely toxic and pretty callous, especially when it comes time to “right-sizing” the employee base. Van Bree makes the observation that work culture follows results, not the other way around. Ping-pong tables and free beer won’t yield great results, but great results can create a positive work culture that doesn’t need ping pong tables to feel fulfilling–a situation which is not exclusive to either commercial or non-profit environment.

The conversation turns toward the difference between an entity focused on creating value vs. generating profits. In the commercial world the latter can manifest in a company whose focus is to look so good on paper they get bought out. Things can go to hell quickly if the company isn’t bought out–and can go to hell immediately after the buy out when that impetus is removed.

Near the end Drew asks what his guests felt they brought from the non-profit world that they wouldn’t have had otherwise. Both mentioned that having a broad skillset, both theoretical and practical, and vocabulary that allowed them to speak the language of other departments was something that their colleagues who had been on a more narrowly focused track didn’t possess. (Though Van Bree says knowing how to fix everything and being tempted into doing it may have gotten him in trouble a couple times.) Van Bree said that having to interact with so many different non-profit stakeholders from audience to board members provided him with a very broad range of social skills and savvy.

There is a lot of really poignant reflections and observations made so it is worth paying close attention as you watch/listen. Especially if you are a sci-fi/fantasy fan and understand the Star Trek and Lord of the Rings metaphors at the end which are particularly spot on.

One quibble I did have with the guests comments. After Van Bree wonders about his career path had he started in a commercial career, he suggests that had he gone into non-profits in his 60s after a commercial career it would have been an atypical career arc. I actually think it is all too frequent a path and may be the cause of some of the non-profit arts world’s current woes. So many times we see someone appointed to the top executive position of an arts organization having come from health care, energy sector or other corporate environment.

Dadisman and van Bree said they face some skepticism transitioning to commercial jobs about whether they had the capacity to work at that level, but there doesn’t seem to be the same barriers for people going straight to the executive suite of a non-profit without much prior experience in the field.

I am increasingly beginning to believe that may be adversely impacting the artistic missions of many organizations.  While protecting monied interests from being offended has always been a factor, in these times when the importance of equity and inclusion has been brought front and center, I have observed two separate executives violate their most publicly stated core value about equity in the face of very mildly controversial content (i.e. akin to child perceiving parents divorce is their fault when the facts may be otherwise). Even when this lack of consistency has been pointed out, they stick to their decisions and then continue to publicly announce their core value about equity without any sense of irony. I feel like this comes from a very corporate focused cover your ass and keep repeating slogan mentality.

 

NEA Re-Opening Guide – You’re Not Alone

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The National Endowment for the Arts has released their “Art of Reopening” guide. Looking through it, it doesn’t substantially differ from other re-opening guides about which I have written. In fact, it actually references many of them as additional resources that are available.

However, if you are just now getting to a place where you can start to think about reopening now that vaccine distribution has started, the NEA guide can be a good place to start your plans.

The bulk of the guide is a list of best practices supported by case study interviews conducted with arts organizations of various disciplines around the country. I am not going to quote extensively from the guide because I feel like I have written some of these topics to death by now. I did want to highlight the fact that the first lesson listed is to strengthen ties with your immediate community. While I have written that to death, I don’t feel anything is lost by repeating it until it people can’t remember a time it wasn’t a core tenet of their practice.

Another lesson learned I wanted to emphasize is:

The unexpected will continue to happen. Be transparent when it does. Adapting quickly to new circumstances and information, and communicating those lessons promptly and effectively to artists/staff, board members, donors, and the public will attract greater confidence in your endeavor.

One thing in the NEA guide you won’t find in any other guide is a survey of National Service Organizations (i.e. American Alliance of Museums, Association of Performing Arts Professionals, Association of Writers & Writing Programs, Dance/USA, Film Festival Alliance, League of American Orchestras, National Association of Latino Arts and Cultures, OPERA America, etc) about how their members were coping with the pandemic and what they were seeing.

You’ll find this in Appendix A. It can be worth reading to know you are not alone in the troubles you are facing.

For example:

NSOs also reported these key difficulties for members in reengaging with audiences or visitors:

◽Navigating local or state government reopening protocols (e.g., limitations on gatherings)
◽Securing union permissions
◽Audiences/visitors not following safety guidelines
◽Creating one-way flow in buildings not designed to accommodate routing
◽Cost of retrofitting and preparing safe venues for audiences
◽Accessibility issues that can result from reserved/advance ticketing policies

Two Shows, Three Trucks

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I was talking with an agent for some Broadway show tours this week in order to get a sense of what things might look like for productions in Fall 2021/Spring 2022.  I was intrigued to learn that they were considering sending out two shows in repertory.

What that means is the same cast and crew rehearse so they are capable of mounting two different shows. This was once a common practice in theatre, and is still not terribly uncommon, especially among Shakespeare festivals.

I have seen some smaller touring productions offer this option, but never heard of it on the scale of a Broadway touring show. Given that you can do so much with projections these days, they can cut down on built set pieces to allow the tour to go out with the same number of trucks a Broadway tour of a single show would.

I am not sure if this is the right solution, but this is the first group I have spoken with that seems to acknowledged that times have changed and touring productions need to adopt new approaches.

This offers an opportunity to be more responsive when it comes to routing a show. Usually the tour of Show A will have one schedule and tour of Show B will have another schedule. It doesn’t help either me or the production company if Show A is touring near me but I want to see Show B.  The repertory approach means they can send one tour out and perform one show 150 miles away and then another show in my venue.  Since they are only sending one tour out with one set of cast and crew, there is a potential to save money vs. sending the two shows out separately.

If they were particularly well-organized and a venue had the space to shift and store things, they could feasibly do one show one night and the other show the next night and have the labor costs involved in doing so be economical for the venue.

How this might impact the quality of the show and the production values people expect, I don’t know. It is absolutely possible to execute a high quality experience with the investment of enough attention.

I suspect the first year or so of post-Covid touring will be an environment that will see even tours of single productions stumbling to find their footing and how well they handle that will be the biggest factor in the success and quality of their product.

Take The Opportunity For A Reboot

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Research has shown that offering free admission doesn’t lead to an increase in participation by new audiences.  In most cases those that are attending are the people who normally attend, they are just showing up again a little sooner than they might have.

This past October/November I actually paid attention when I visited a museum that was offering free admission on a day that the featured artist was speaking. Sure enough, except for friends of the artists that came from out of town, there were only a handful of people who appeared to have never visited before. Most everyone else were greeted by staff as familiar faces or entered and made a beeline down the correct hallway to the exhibit.

Recently Seth Godin made a post titled “Why isn’t there a line at the library?” which addressed an aspect of what keeps people from showing up. He notes that if any other company was giving their core product away for free, people would cram through their doors.

A century ago, information was truly scarce and books were far more expensive than they are now. A decade ago, obtaining the instructions on how to do something was difficult indeed.

“It’s too expensive,” or “I can’t get access to it,” used to be really good excuses. But they obscured the truth: “It’s too much work.”

And that’s the answer to the question. It’s too much work to change our minds. It’s too much work to dance with the fear of failure. It’s too much work to imagine walking through the world differently.

Let’s be clear, this is true for all of us. There is always something we decide is too much work to engage with and yet will pour five times as much effort into something else. People will periodically ask me if I want to return to acting on stage, but the prospect of investing the proper time and energy to do a good job turns me off the idea. Yet there other things I have been working on regularly for decades. (This blog, for one, to think of it.)

There has also been an ongoing conversation in the arts community about the fact that an environment has been created around what we do that makes it a lot of work to comfortably participate.

Certainly, there are things that our potential audiences/participants already eagerly engage in that require more effort. But in many cases there is also a more widespread sense that you will be joining a bunch of fun, like minded people in this pursuit. Often that is not the vibe we give off.

This forced pause in operations the coronavirus has created provides an opportunity to shift the context and narrative for the future. It can start with social media posts and then transform into practice.  Any return to activity is likely to begin on a small scale as people venture out which provides a low stakes environment in which to experiment with change and make your mistakes. Starting out small may not be great for the bottom line, but it offers a chance to reboot narratives and expectations regarding what we are all about.

Lack of Perks Don’t Make Or Break Donor Relations

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Advisory Board for the Arts just sent out a summary of four takeaways about what motivates arts donors based on interviews conducted this past November and December.. While this post is going to be quote heavy, it isn’t going to include all their observations so I encourage you to take 2-3 minutes to read the whole thing.

The first takeaway was basically  “first impressions set the tone for the whole relationship.” Once someone makes a donation, future donations will generally fall in the same area. The amount donated is fairly dependent on their perception of what a person like themselves has a duty to donate.

“…which is a combination of what they can afford to give and what they believe is their duty to give, based on factors like marital status, whether they have children, and how much they get out of the arts. When prompted to discuss whether he would consider increasing his giving to arts organizations, for example, one interviewee said that increasing “would probably be appropriate for a couple or a family. Just being single, $1,000 is already a high tier.”

The second takeaway probably holds no big surprises. Donors like to support different organizations, but they have a core group of entities (~2-5) with whom they concentrate their support and perhaps up to 20 others which they vary their support.

The third takeaway is very promising for organizations during and after Covid. While people may donate at a certain level to gain perks, taking away those perks won’t cause them to reduce their giving, by and large.

A handful of donors we spoke to pointed to benefits like free parking and access to donor lounges as reasons for their giving — but across the board, donors indicated that they would not change their giving habits if those perks were significantly reduced or removed entirely (as has been the case for many during the COVID-19 pandemic)… Many donors expressed a desire to help their communities, including by attracting business and building a vibrant local economy, through a demonstrated commitment to the arts. They stated their views clearly: the arts are not a luxury. They belong — they are needed — as part of the social fabric of every community…

The last takeaway is also probably not a surprise. Relationships and connections matter–both with the organization and other participants.

…the opportunity to meet and to know other people is what brings them back each year. Interviews revealed they have an acute awareness of what would be lost without those relationships.

Importantly, donors emphasized the difference between arts organizations’ (often costly) initiatives to foster community-building and the community itself. One interviewee summed this up succinctly when she told us that “perks like donor parties and receptions create community, and that is one of the satisfactions people get from donating. It is something people get besides the altruism of giving to the arts. But there are a lot of ways to create community without parties.”

We spoke to some donors who had met lifelong friends through the opera or symphony; we spoke to other donors who jumped at every opportunity to speak with artistic directors and performers and curators. They weren’t planning on discontinuing those relationships anytime soon. To do so would be to leave the community that had brought them those friends in the first place.

Prioritizing Cultural Practitioners To Receive Covid Vaccine

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NPR story came across my social media feed yesterday about how the Cherokee Nation has prioritized giving the Covid vaccine to those who are fluent in the Cherokee language.  I sought out a little more information and learned that there are about 2500 fluent speakers and about 20 have died to Covid in the past year.  The first allotment of the vaccine was about 900 does and there are other categories of people on the priority list so they aren’t going to be able to inoculate everyone.

The fact that the Cherokee Nation moved to protect cultural practitioners and had the need to do so provides a lot of complicated issues consider.

Not the least of which are the indications in both the NPR and Tulsa World stories I linked to that suggest some of these people might be normally disinclined to get vaccinated if it weren’t for the value being placed upon them. Based on what they had heard, nearly everyone interviewed expressed concerns about the safety of the shots.

“Language is an essential link to preserving the culture of the Cherokee Nation people,” Montgomery said of the decision to prioritize Cherokee language speakers in vaccine scheduling.

“When I walked through (the center) earlier today and I saw a couple of native (Cherokee) speakers that were getting their vaccine, I can’t describe the emotion I felt knowing they’re here overcoming any fear they might have of receiving the vaccine and doing so to protect themselves and their families.”

John Ross, a Cherokee language translator, …Asked about the tribe’s decision to prioritize him and other language speakers for vaccines, he said he was initially shocked to learn that he would be vaccinated this week but felt “elated.”

But Why Do People Want More Diverse, Locally Focused Stories Told?

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Last year (December 31, so technically) I had a post on Arts Hacker taking a look at the work LaPlaca Cohen and Slover Linett Audience Research had done interpreting the Covid edition of the CultureTrack survey through the lens of race and ethnicity.

My post focused on the findings which indicated an interest in having arts organizations offer more inclusive and community focused programming that reflect the stories and faces of everyone. There were some interesting findings about how some communities saw arts and cultural organizations as a trusted source of information whereas it was barely on the radar of other communities. Most everyone saw value beyond just fun and entertainment, though those characteristics are highly valued.

This greater emphasis placed by some BIPOC Americans on the social, civic, emotional, therapeutic, and creative-expression roles of cultural participation may help practitioners and funders think more broadly about service and relevance to communities of color during difficult times.

One thing I didn’t address in that post that stood out was a question the researchers raised about why people want a greater diversity of local stories told.

It reminded me that a lot of assumptions are made about the “why,” but no one has really sought out the answers in a deliberative way. The overall conclusion of the report was that the data raised a multitude of questions in need of study. (i.e. surprising Native American affinity for photography and strong digital consumption of classical music by Black/African-Americans.)

It’s worth reflecting on how a desire to celebrate one’s cultural heritage is connected to other desires; people who are interested in celebrating their cultural heritage are also more likely to want arts and culture organizations to feature “more diverse voices and faces,” focus more on local artists and the local community, and offer stories that reflect one’s life — all of which Americans of color are more likely to express than White Americans…Perhaps White Americans don’t think of arts and culture activities or sites as places to do that kind of celebrating — or perhaps they don’t recognize the extent to which some of those activities and sites do, in fact, celebrate and exemplify European cultural heritage. Might Multiracial Americans feel that their backgrounds and identities are too complex or nuanced to be celebrated in the arts? All of this begs for further research into why many people want more diversity, localness, and stories that reflect their experiences and whether they see those things as tied to their — or their community’s — cultural heritage

 

Plan For An Inclusive Post-Covid Cultural Experience

Don’t Deserve Praise For Something Embarrassingly Easily And Long Overdue

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Yesterday Drew McManus released another episode of his Shop Talk podcast where he speaks to Kenji Bunch and Jenny Bilfield about artistic elitism. I was listening to it while painting one of my bedrooms and there was an uncanny period where Kenji Bunch was echoing my exact thoughts on a four second delay. It came at the 28 minute mark (cued up below) where Bunch talks about how he had programmed his season with 100% Black American composers with a 50/50 gender split. He says he got a lot of praise for it, but he was a little embarrassed because it was ridiculously easy to do and something he felt he should have done long ago. He suggests there are institutionalized pressures against making those type of decisions based on chicken-egg gatekeeping. (e.g. employers are looking for experience, but you can’t get experience without a job.)

At the time, though four seconds earlier, I was reflecting very closely along the same lines about the last six months. At my day job we have been offering a curated storytelling series and outdoor cabaret series that features local stories and voices. Many of them are stories and voices of Black residents. We have been getting praise for amplifying these stories and voices from members of the Black community, including some of our board members.

Like Kenji I have been a little embarrassed because it hasn’t involved much effort to arrange for interesting and charismatic people to step into our spaces. My staff and I know there is more to be done and feel people need to hold our feet to the fire to do it and not let us off too easily.  There may be a time when that comes. Right now people may be in a little bit of shock to see their faces and stories on stage when it isn’t Black History Month and then realize it wasn’t a token effort when it happens again 4-6 weeks later with more of the same listed on the schedule.

I think I have mentioned before on this blog that in some respects the situation with Covid has facilitated some of this. Absent the expectation to provide the same type of programming we have in the past, there is more permission, and even a recognition of the necessity, to focus on local talent and stories.

We had actually been moving in this general direction prior to Covid knowing that the planned construction of a building next to us in 2024 might limit our use of our loading dock and thus larger scale performances. We planned to shift the programming gradually to get audiences used to seeing smaller scaled shows. In some respects that transition might be easier and more acceptable to audiences than it would have without Covid. (And who knows how long construction may be delayed now or if it will happen at all if there is a greater shift to working from home.)

I bring all this up to propose that the near future may be the best opportunity to implement measures to make your organization and programming more inclusive. Not only is the institutional inertia that would normally resist such decisions likely to be weaker, the execution of the effort will likely be easier than you anticipated and warmly welcomed.

What you shouldn’t walk away with is a plan to only effect change up to a certain point as a sop to critics with an expectation of grateful praise. As I said, my team and I pretty much anticipate people will eventually say that was great, why did you stop there, if we don’t continue to think about how we can do better for everyone.

 

Bizarre Case of The New World Symphony

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Friend o’ the blog, Rainer Glaap shared a video link to a session lead by Elliott Bruce Hedman, Head Design Researcher at, mPath an organization that researches how consumers engage emotionally with products. mPath uses skin conductivity sensors to measure the emotions people are experiencing during certain situations. The talk was hosted by Github for a technology oriented audience so Hedman characterized the examples he was going to use in his presentation as “bizarre case studies.”

So of course the first one was the New World Symphony (NWS).

The “bizarre” appellation aside the case studies were interesting (the others dealt with selling large shop vacuums and teaching math and reading to kids.) I have queued up the video below to start at the ~3:45 mark where he shows the results for the New World Symphony. (If you want to know about how skin conductivity sensors work, start from the beginning of the video.)

Hedman says he was hired by NWS to reverse the trend of classical music concerts  losing about 30% of their audiences annually. In one example he gave, he placed the sensors on veteran concert goers and novices. The emotional engagement of the veteran was very active through out Stravinsky’s “Firebird.” The novice’s engagement at the same concert was virtually flat through the entire piece and only peaks significantly at the applause.

Hedman makes the point that this doesn’t mean it is impossible for new audiences to become emotionally engaged, it just indicates people react to different things. He shows shows the graph of another first timer’s concert experience, this time for the whole concert.  This is particularly fun to look at because it shows where the attendee was bored by the person talking from the stage. However, when the music ends and the host starts talking, the engagement jumps before tapering off because something has changed about the experience.

This person was seeing Romeo & Juliet (I am guessing Tchaikovsky for reasons which will become apparent.) They had a much more varied experience than the person seeing The Firebird, especially during the quietest part and the main theme, the latter of which is familiar from basically every romantic moment in movies and commercials.

Hedman said he advised NWS to only program works that were about a minute long to prevent people’s attention from waning and music that was familiar rather than esoteric works that only experts would appreciate.

Yes, the concept of a short classical work, much less one people recognize does raise a chuckle. It wasn’t clear to me whether he meant this for concerts specifically for people who are new to classical music or as a regular feature. (It is probably the latter since he suggests more Red Hot Chili Peppers and less Beethoven.) If anyone knows how New World Symphony implemented his suggestions, which I imagine were more involved than depicted in the video, I would be interested to learn more.

At first it struck me as problematic to play things with which people are familiar if you are also trying to diversify your programming to include compositions by women and persons of color.  But it also occurred to me that what he suggests brings up the possibility of facilitating those choices by getting up during a concert and saying “Before we move on, next month we are performing The Rose of Senora. Here is a three minute excerpt that illustrates why this new work excites us. It will be that much better when Holly Mulcahy is here as a soloist.” The idea that everyone in the room is learning something new at the same time might help diminish the sense for new attendees that you need to be an initiate to enjoy the experience.

There were a number of insights Hedman shared at the end of the video which are worth noting if you are trying to improve the emotional experience of audiences, stakeholders, participants, etc:

-You won’t design the right experience the first time out. Hedman says his first attempts in most of his projects were wrong and he is still refining his program to help kids feel excited about reading.

-Businesses are obsessed with happiness, but confidence, attention and understanding, and play is what sells a product.  This is something to note – research has shown that people are often satisfied in an experience with a company even if they didn’t get their desired outcome. If they have lodged a complaint but didn’t get a refund/replacement, having felt heard and acknowledged still contributes to a constructive relationship with them. (This is me drawing a connection, not him.)

-Measuring emotion adds the much needed human element to your data. Hedman says the most important thing he wants people to take away is trying to collect emotional data from their customers. He said depending on website stats is insufficient and the emotional data adds depth to your understanding. While he obviously has a service he is selling to people, it is worth remembering that emotion is strongly intertwined in what we do and thus integral to our interactions with audiences and participants.

They Are Serious About Play

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I didn’t properly record the source, but last week someone tweeted a link to the LEGO Foundation’s document, Creating Creators, which has the subtitle: “How can we enhance creativity in education systems?”

The document is a collection of seven essays on the subject. What interested me was the more international perspective on the topic than I had really previously seen. There are pieces written by the Minister of Basic Education for the Republic of South Africa as well as one by a student of that country’s University of Pretoria. Apparently teaching to the test is also perceived to be a problem in South Africa.

There was also an essay discussing how the  Organisation for Economic Co-operation and Development’s (OECD) Programme for International Student Assessment (PISA) will test for creative thinking for the first time in 2021. The PISA is the cause of much hand wringing over how students in the US compare to students in other countries in different subject areas so it can be worth paying attention to the results when they are issued and using them to initiate conversations.

That is if the PISA is administered next year. I was surprised there was no acknowledgement of the impact of the global pandemic in any of the essays. It turns out that while this document is new to me, it was actually published in 2019. With so much learning disrupted this year, they may decide to postpone the administration of the test for awhile longer.

I poked around the LEGO Foundation’s site a little bit and was not surprised to find they had created “A guide to playful distance learning – online and offline.” While it is focused on educational institutions it has a lot of fun ideas that arts & cultural organizations and libraries can use for their programs –or individual parents can use with their kids.

As the title of this post indicates, LEGO Foundation is serious about play and the Knowledge Base section of their website reflects that. It is a good place to visit for research and ideas on the topic.

Maybe They Could Increase Residency By Offering A Pastry Of The Month Subscripton?

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A little bit of amplification of my local community today. Next City ran an article on the Mill Hill artist village that is developing in one of Macon’s original neighborhoods, Ft. Hawkins. The project is a partnership between Macon-Bibb Urban Development Authority, Macon Arts Alliance and the Historic Macon Foundation which has developed renovated houses once used by mill workers into artist housing.

They also turned the auditorium building that once served the mill community into an activity space which includes a large industrial kitchen which is being used by a baking collective, but is also available for hourly rental on a more casual basis.

The industrial kitchen was installed as a result of interviews done with the local community when the project had barely been conceived. People had mentioned their mode of creative expression was related to food and that they were running businesses out of their home kitchens.

When the project first began, the people behind what would become Mill Hill worked with the local Roving Listeners group. They went door to door in 2015 for six months, getting stories from people. This included talking with people at Davis Homes, a 184-unit public housing development down the street from Mill Hill.

“We weren’t even talking about a forthcoming project,” Olive says. “It’s pretty common for development projects to go in and say, ‘We’re going to do this planning effort. We’re going to have community meetings. We’re going to do this.’ And it’s all sort of framed around ‘because we’re going to do this project in the future.’ And really, with the Roving Listeners phase, it wasn’t through any lens. It was just knocking on people’s doors.”

They recorded people’s stories and compiled some of them along with photos in a book called “Heard on the East Side,” distributing it to residents. They also referred back to those conversations when creating the Mill Hill master plan, which was completed in 2018.

Currently, there isn’t a lot of occupancy in the artist village. Of the seven houses that have been restored, only one has been purchased by a private individual. One the Arts Alliance owns for use by its artist-in-residence. As those interviewed for the article indicated, there hasn’t been a lot of marketing done to make people aware of the spaces. As a result, they haven’t reached a critical mass of interest.

I will confess to possibly contributing to that. When I was looking to buy a house around this time last year, I was seriously considering some of those houses but the fact listings indicated they had been on the market for over a year raised concerns about how easy it would be to resell a house if I decided to move.

However, one of the great benefits those houses have is that they are located right next to a pedestrian and maintenance gate into the Ocmulgee Mounds National Historical Park. It is basically a private entrance into an historic site with miles of walking & biking trails which also hooks up to an expanding community trail.  I used that entrance a number of times when I was living in Macon’s downtown. Even when the historical park is closed, you can pick up the community trail about 1/4 mile away.

I should also mention that the houses are pretty nice with a lot of open space making them well suited for studio use.

While the houses might not be occupied, the former auditorium space gets used a lot for events, classes and meetings of all sorts. The kitchen the bakers used is HUGE and well-equipped. The best events are those which show off the talents of those bakers.

So overall the project definitely has potential for great growth and is something worth watching.

Decision Not To Grow≠Failure To Grow

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An article on Daily Yonder making an interesting point came across my social media feed last week.  They noted that part of the reason why rural communities are characterized as being in decline is that those communities that eventually grow much bigger are no longer classified as rural, they become a metro.   It is almost like claiming that the life expectancy of caterpillars is getting shorter despite the increase in available flora without acknowledging that the abundance of flora allows the caterpillars to transition into butterflies earlier.  This is a form of survivorship bias.

“Rural America is reported as declining in part because we no longer count as Rural those counties that grew into a Metro classification. We are measuring those counties that stay Rural which, by definition, have not grown,” stated the report.

[…]

Those that remained rural are far from homogenous, but the report stated that “they often have some economic specialization or dependence. Counties that stayed Rural and lost population tended to depend on farming, mining, or oil and gas. Counties that stayed Rural and gained population (though not enough to switch to Urban) tended to be recreation-dependent and/or retirement destinations.”

The way rural counties are classified and reclassified contributes to a skewed image of “struggling rural America.” Policy makers should consider this as they look for ways to help rural counties succeed.

This reminded me of the frequent complaint that the success of an organization or company is predominantly measured in growth. Is the number of people served or funds raised/earned greater than it was in the past? A lot of us know it is the less easily quantifiable depth and quality of the experience that can create deeper impact and lasting impressions in participants.

Heck, at about 4 pm this afternoon I got an email at my day job saying our outdoor fire escape concert series has been nominated for a special Covid Cultural Award. I would argue that a primary criteria for that was just “able to do something this year” rather than anything to do with growth.

I strongly suspect there is a dynamic at work in the non-profit sector as a whole, and the arts and cultural industry in particular, similar to the one observed in the Daily Yonder article. There are rural communities that see growth, but remain rural but there is often no differentiation between them and those rural communities that are doing poorly.

If you make a conscious choice to stay small or only grow large enough to provide sustainable salaries to staff and then reinvest resources into providing better and better experiences, you end up in the same category as groups that are just entering the field or entering your size classification.  As a result, the perception of your organization is shaped by sweeping generalizations about your category.

If others in your category are struggling to deliver quality programs or lack the capacity to do good work, then by default the belief is you are as well despite having developed an extremely stable foundation over the course of decades.

This dovetails with my frequent discussion of how economic impact is a bad yardstick by which to measure the value of the arts. Just as the authors of the study of rural communities say different measures and different solutions should be applied to rural communities, a single standard of success is not appropriate for all arts organizations.

 

This Christmas, Take A Vacation In The History of Your Neighborhood

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A number of arts organizations like the one I run as my day job, have started focusing on programming that is locally and regionally sourced since drawing on artists from a greater distance is not practical.  Back in April I saw an article on CityLab that seemed like cool idea that could be scaled up, adapted and lead by local arts organizations, even if it was over Zoom.  I held off writing about it because best results probably depended on access to local libraries and historical archives and not many of them were open to the public at the time. While this still remains the case in some communities, I thought I would toss the idea out there as something to tool up for as vaccine distribution increases.

The article author Ariel Aberg-Riger, set out to discover the history of her neighborhood in Buffalo, NY and created a little pictorial guide to her journey. She delved into the archives of newspapers, libraries, Library of Congress and local historical groups as well as chatting online with neighborhood groups on Facebook.

Her account is rather engaging and amusing. She talks about how she thought it ridiculous that people were taking out classified ads with pictures of their kids—until she realized that practice was an early precursor of Instagram. She found out that in 1924 a burglar had been caught by a previous owner of her house when the burglar reached under his pillow and woke the owner.

She also learned that her street originally had a different name that didn’t appear on maps because the road wasn’t paved. More interestingly  the person for whom the road was originally named opposed having it paved, but the city insisted on it so they could deliver coal to the public school. The compromise left part of the road unpaved for four years and as a result, the brick paving is two different colors right in front of Aberg-Riger’s house.

There is quite a bit more she discovered about how those who originally owned the land under her house were connected to the history of Buffalo at large, but I felt like just the little bit I shared here could provide the basis for creating short stories, plays, visual art works, storytelling sessions, narrative dances, etc, etc.

There are a number of directions an arts organization could go from involving people in researching elements of their community by holding contests for the best stories that are uncovered to getting them to participate in creating works based on information that is uncovered.

Stories from a more distant past might be useful in addressing uncomfortable topics of the present, including making people aware that history is seldom as clear cut as reported and problems faced today aren’t necessarily unprecedented and insurmountable and therefore capable of resolution.

Developing New Skills & Capacities

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In my post Monday I was wondering what influence Covid might have on dance choreography given the visual range of cameras, etc. Tuesday morning I woke up and saw a link on Artsjournal.com to an NPR interview with Alvin Ailey American Dance Theatre Artistic Director Robert Battle which partially answered that question.

Battle talks about a lot of the challenges the Ailey company had to navigate while trying to celebrate the 60th anniversary of Alvin Ailey’s  “Revelations”, a signature piece created during the Civil Rights era. Many of the challenges they faced were familiar – testing for the virus, changing the spacing between people, rehearsing in unfamiliar spaces and rendering a performance for an unfamiliar medium.

However, Battle also talks about lessons learned that they hope to leverage to their benefit even after Covid restrictions are lifted. This serves as an important example to all in the arts community because it is generally acknowledged that there is no return to the previous operating environment. As a result, new skills and capacities need to be developed. (my emphasis):

BATTLE: I definitely think so because often, you know, necessity is the mother of invention. And sometimes, that thing that you, you know, you have to do differently and rethink and reimagine actually sticks around, you know (laughter)? It’s like, I can’t imagine that once we’re back doing live performance that some of the things we’ve learned about filming dance and embracing that as a thing unto itself rather than only a response to not being able to be in the theater, but to go into the art of filming dance – and I think that’s what’s wonderful about what we did with “Revelations.” You know, we did the “Wade In The Water” part outside in the garden. So it gave you that sense of being more authentic. So it just offered us such opportunities.

And so we want to make the filming look as if that’s what it’s meant to be – that it’s not saying, oh, well, unfortunately, we can’t be in the theater, so we’re going to do this. But we want it to look as if that was the intention all the time. And that’s what I think we’re achieving.

Germany Would Like You To Perform With Confidence

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Big thanks to Rainer Glaap who sent me a link to a news report that Germany has created a $2.5 billion cancellation fund that would allow event organizers to plan shows in the third and fourth quarter of 2021 with some confidence by promising to cover any Covid related losses. They are also working on funding to mitigate against losses due to capacity restrictions.

Scholz said that the federal government would like to reimburse all costs “which were made in optimistic expectation and cannot be realised due to corona restrictions” for events in the second half of 2021. “Otherwise the pandemic will be over at some point, but there will be no concerts. And so the whole machinery with the many self-employed soloists and musicians gets back on its feet,” he added.

Scholz says he is also working on a funding program to support cultural events that are financially impacted by capacity restrictions enforced due to coronavirus, as well as hybrid shows.

Apparently Austria implemented a similar program in October and ended up putting it into practice a short time later:

The protective umbrella was put to use sooner rather than later when Austria went into lockdown on 3 November. The lockdown was lifted today, however leisure facilities and cultural institutions will not be permitted to reopen.

Similarly motivated to stimulate cultural activity, the article reports that Denmark had provided subsidies for organizing socially distanced events in September and October.

The insurance and subsidy approaches both provide interesting models for the Save Our Stages effort in the US. I suspect other countries have arrived at additional plans that would be equally viable and worth exploring.

So Would That Be A Plaque of Plays?

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On occasion I have conversations with co-workers and colleagues about how Covid-19 may change the general aesthetics of live performance in the future.

For example: Will lingering concerns about physical contact result in staging and blocking which places people at even greater distances from each other on stage? Will dance choreography change based on the limited visual scope of web cameras? (e.g. movement doesn’t range too far to the left or right) or under the influence of TikTok choreography which is dominated by upper torso movement?

We figured many movie and play scripts and performances in general would contain themes of estrangement and isolation or space, manifested in emotional, mental, physical and spiritual terms.

What hasn’t been mentioned, though it has sort of lurked unspoken at the fringes, is the likelihood of some pretty didactic works about the experience of Covid-19.

Fortunately, the satire site The Beaverton, feels no compunction about addressing this topic in their “story” titled “Health Canada warns of inevitable “spring wave” of terrible COVID-inspired Fringe plays.” (Apologies to whomever tweeted the story. I hadn’t made note of your identity.)

Apparently there is the potential for a pandemic just as virulent as the Covid virus itself:

Case modelling indicates that various poorly-written scripts and “workshop drafts” are currently incubating all across the country. Health Canada warned of asymptomatic carriers who may seem healthy, despite currently using their Notes app to brainstorm ideas for a painfully unfunny sketch comedy revue with premises like “Speed Dating on Zoom” and “rap song about CERB?”.

“These terrible Fringe plays will no doubt ravage the bodies and minds of previously-healthy Canadians,” explained Dr. Tam gravely. “The kind of outbreaks we face might include: amateur actors who just can’t project loud enough while wearing PPE masks; some kind of weird clown thing where they dress up as the coronavirus and force audience members to join them onstage; or even pathetically-misguided attempts to thematically suggest that the real virus all along was ‘social media’.”

Submitted for your amusement (and potentially inspiration for your own Covid-themed show)

What The Hell…Oh Wait That Is A Pre-Covid Picture

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I have a post on ArtsHacker today encouraging people to really think about what message their promotional photos are sending as we hopefully will start to move out of Covid restrictions.

ArtsHacker-in-chief Drew McManus praised me for thinking of such a timely topic to write on and I responded that it was largely inspired by a true story.

At my day job we have been able to mount some smaller scale events like movie screenings, storytelling sessions and outdoor concerts using our fire escape as a stage. Even with all the measures we have taken to ensure social distancing, people have a hard time conceiving of themselves seeing indoor events. We had the manager and mascot of our local baseball team introduce a screening of A League of Their Own this summer. When they told a co-worker where they were going, she was interested in attending until she found out the screening was indoors. At the same time, she was willing to go to a restaurant where she would be sitting a lot closer to other people and have worse air circulation.

As a result, my staff and I have been putting time and effort into taking pictures of people attending performances spaced apart at an appropriate distance. We have pictures of parents helping their kids pump hand sanitizer and everyone wearing masks. These pictures pepper our web page and appear at seemingly random intervals on our social media pages. All calculated to present an accurate, reassuring image of an experience at our venue.

It wasn’t long ago that we noticed social media posts by another arts organization promoting an upcoming concert. The image they used depicted a packed indoor concert which I am 90% certain was a stock photo rather than from one of their shows. Later they emblazoned “Sold Out!” across the same image which reinforced the idea that there were shows going on locally where people were crushed together.

The truth is, the show they were doing was at an outdoor amphitheater which employs solid social distancing guidelines. While it was sold out because of social distancing guidelines, attendance didn’t reach the fire code capacity of the space. The post-event pictures reflected this with masked people seated in a grassy area a respectable distance from one another.

While pictures of people spread out across the frame isn’t as sexy as a mass of people with open mouthed expressions of delight, it is a lot more reassuring for audiences during these cautious times. Right now a lot of people are seeking that measure of confidence over a mass communal experience.

Just think about how many times in the last 9 months you have reflexively felt uncomfortable with how blase people in a video or picture were being about masks and social distancing only to realize the performance or gathering depicted was from 18 months ago.

A year ago how I promoted my event didn’t really impact the way people perceived your event. Now the question is much less about which of many activities you want to choose and more about IF you feel comfortable making a choice to participate in a public activity at all. As a result, how other organizations present an experience has a much greater influence on the lens through which people perceive your event.

Work On Those Re-Opening Venue Images

Who Is Prioritized In Programming Decisions

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The Atlantic ran an article about how museums are having to deal with questions about equity and representation in their programming that are posed by both external and internal constituencies.

The content of the article is pretty much applicable to every arts and cultural organization, regardless of discipline because the root of the problem seems to be the process by which programming decisions are made.

The collection departments at museums don’t tend to engage with the educational staff—who help interpret exhibitions by organizing lectures and seminars that can enhance public understanding of a display’s importance—until too late. “When I was first in the art-museum world as an educator, we were presented exhibitions after they had been curated and decided upon,” she said. “And then it was our job to figure out how to teach from those exhibitions. How the content mattered, how relevant it was to our community, all those decisions were made outside my office.”

In that sense, context enters the conversation at the end of the decision-making process. And even when educators are involved, they can sometimes focus too much on scholarship—as with the “White Gold” exhibit—trapping museums in a cycle of overemphasizing academics and underemphasizing analysis in a racial and historical context, leading to misguided exhibitions. “What curatorial processes could benefit from are open-ended questions rather than setting out theses to prove,” Bradley said.

This basic scenario has long existed across arts and cultural disciplines. This is part of what people are referencing when they discuss silos in organizations. A programming decision is made by one group and then another group is tasked with marketing it to some segment of the community. What this does is put those who weren’t involved in the decision making in the position of reverse engineering a rationale for the value of the programming and trying to make it stick. A better alternative would be starting from the question of what will be valued by the community and letting the programming decisions emerge from that.

How one goes about discussing the question of what will be valued differs from place to place and organization to organization. Some of the museums mentioned in The Atlantic article received feedback from community partner organizations, others made an intentional decision to involve people without formal arts training so that the process didn’t get bogged down in academic lingo and context.

I Want Your Advice, But Not Your Feedback

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Via Daniel Pink is a Harvard Business Review (HBR) article that suggests asking for advice rather than feedback.  On the surface this may sound like a distinction without a difference, but research has found that asking for advice garners more actionable suggestions than asking for feedback.

Those who were asked to give feedback tended to give vague comments along with general praise, such as, “the applicant seems to meet most of the requirements.” In contrast, those who were asked to provide advice were more critical and actionable in their comments…Specifically, advice-givers suggested 34% more ways to improve the application and 56% more ways to improve in general.

According to Amantha Imber who wrote the HBR piece, an important element of soliciting advice is specificity about what you want to learn.

Ask yourself, “What will really help me get better at [problem]?” For example, instead of asking, “What do you think of my revenue numbers from last quarter?” you could say, “So far, I’ve tried [a] and [b] but I haven’t been able to meet my goal. How would you have gone about doing this?”

[…]

If you ask people to think about what could help you in the future, the advice you will receive will be more specific and actionable. For example, you could make the ask specific, such as, “What could I change about my presentation skills to deliver a more powerful presentation next time?” or “Could you give me a few tips to make my slides more appealing?”

I feel I should mention that this approach for getting actionable suggestions is not a completely new idea in the arts world. Liz Lerman’s Critical Response Process which has been employed for about 20-30 years now involves creators asking for reactions about specific elements pretty much as outlined in the HBR article. Except in Lerman’s process there are more specific guidelines about the way respondents phrase their statements in order to keep the process focused.

Desperately Seeking The Wishbone This Thanksgiving

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I saw a social media post this week that said something to the effect of: “Let’s admit that back in 2015 we all failed to correctly answer the question, ‘Where do you see yourself in five years.'”

If nothing else, I think we should agree that people should stop using that question in interviews.

Since there is only a month left until Christmas, it is probably time to start thinking about those New Year’s resolutions.  If you haven’t been keeping up with the recent data updates from Colleen Dilenschneider at Know Your Own Bone, (no blame, it is difficult trying to be a data sponge in Covid times), she made a summary post yesterday that reviews stuff you should be thinking about.

The bad, but not unexpected news, is that it may take a year or more for cultural activity to rebound to the point things were at in 2019.

Like many of her posts, this one reviews what factors cultural organizations have going for them and what things orgs should be working on if they haven’t been.

Hope everyone has a great Thanksgiving holiday. Keep safe and healthy.

Wasn’t Looking For Substantive Discussion of Workplace Equity On An Orchestra Podcast, But There It Was

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I may owe some apologies to Drew McManus because I would have never expected that a podcast about the classical music industry would provide one of the best discussions about the complexities of workplace equity that I have heard. (And I have heard a lot, even in the last 10 days.)

The most recent episode of Shop Talk features a conversation with Ruby Lopez Harper, Americans for the Arts Senior Director of Local Arts Advancement; and Dr. Brea M. Heidelberg, Associate Professor & the Director of the Entertainment & Arts Management program at Drexel University.

The fact both guests had an established rapport from having previously worked together allowed them to move quickly to a substantive discussion of workplace equity efforts. For the most part, Drew just stood back and let them delve into the subject.

Even before they brought it up, I was already thinking about what the future might hold when workplace equity programs are no longer the hot priority for funders. It occurred to me that the test-focused values of our education system is reflected in many other aspects of our lives. (Likely the education system is also a reflection of broader values.)

Just as knowledge is only valued until a test approves of our apparent mastery, there is a feeling that once you have taken the equity seminar and received the certificate, the problematic elements have been eliminated and you are now an approved good person.

So it would make sense that there might be a similar transactional approach to funding: Once X amount of dollars has been spent on the problem and Y positive outcomes have been reported, (and as we know, every funded program comes off exactly as planned, at least in final reports), then the bulk of the important work as been done and the funder can move on.

It also occurred to me that the mindset of orchestra musicians, though not necessarily the boards and administration that run the organizations, might be among the best suited for work place equity efforts. Musicians know that the attainment of knowledge and ability is not complete when a passing grade is received but rather it is a lifelong pursuit of self-improvement — much as the pursuit of equity.

Kudos to Drew for pulling this off. This is not an easy topic to get honest, quality discourse on. Take a listen.

As Drew writes,

…it’s more frank than candid and I mean that in the best possible way. Even if you don’t think you’re the sort of person who “needs” to hear this, you do. If you’re white, you’ll probably feel uncomfortable, but again, only in the best possible way. Don’t miss the section on #TraumaEntrapment around the 40min mark.

Books Open Doors To New Worlds…And Maybe Some Arts Orgs

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If you are pondering how to create new “entries” for participation with your organization for a broader, more diverse audience, survey results summarized in a Hyperallergic article might offer some clues. A survey conducted by American Academy of Arts and Sciences’ Humanities Indicators project found literary events may be a good programming choice, especially given the scale a lot of places operate on due to Covid:

…higher-income Americans are more likely to have visited art museums or attended art events, but they are less likely to attend poetry and literary events. It also found that Latinx and Black Americans are nearly three times as likely to have frequently attended poetry or literature readings and other literary events as white Americans; the youngest adults among Black and Latinx communities (ages 18-29) are more than twice as likely to attend these events as those 45 and older.

The Hyperallergic piece also cites some political and gender divides in relation to the perceived value of art history and appreciation classes in one’s life. I haven’t tracked down the original study yet to see if it has results for other disciplines.

 

Economists Don’t Like Economic Impact Studies?

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Michael Rushton is singing my song. Today he posted a critique of using economic impact as a measure of the value of the arts. It is “quick and dirty” as he says, so it won’t take much time to read the whole thing.

I have made many similar posts before, but what I appreciated about his post was that he points out not only are arts and culture not so special that something else can’t be substituted in its place, but the economic impact data is not useful for making policy decisions. I had noted the substitution problem 13 years ago, but the issue of usefulness of the data for policy making hadn’t gelled for me before today. (Rushton’s emphasis)

And so, to consider an arts example, suppose a mayor says “we should spend money building a new performing arts center. Construction costs would be $3 million, and the total economic impact of the construction would be $7.5 million”. An economist would say: “you could do a lot with $3 million: you could repair infrastructure, you could expand after school programs, you could lower taxes by $3 million and leave it to individuals to have more money to spend. Any of those options would also have ‘economic impact’. So ‘economic impact’ doesn’t justify spending on the performing arts center. What would justify a new PAC would be if the public benefits from using it exceeded the costs of building it and running it, i.e. a proper cost-benefit analysis. Building a PAC is a cost, it is not the benefit.”

Economists don’t like “Economic Impact” studies – they know that the conception of them is wrong, and they lead to bad reasoning.

[…]

…I’ve studied this subject for twenty-five years, and have never seen evidence that economic studies have informed decisions on public spending on the arts.

Second, the numbers don’t give any policy guidance. Suppose I were to tell you that the annual economic impact of the nonprofit arts sector in Bloomington is $73 million. If you were on city council, what would that tell you? That arts support should be increased? Or decreased? That this is a very big number? Or about what one would expect? That we should increase spending on arts program X but decrease it on arts program Y? I have never seen a policy decision where the economic impact number made a difference. (To see this, imagine that I told you “I’m sorry, I made a typing mistake, it’s not $73 million, it is $63 million”. How would that correction affect any arts policy decision?).

Always Pondering The Line Between Constructive Persistence And Futility

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Seth Godin made a post on his Medium site last week about persistence. Whenever I see posts praising persistence I always start to philosophize about how one knows the line between constructive persistence and continuing to do something based on sunk cost fallacy thinking–the idea that you have invested so much into doing something you can’t stop now.

In particular, he writes about how 20 years ago he committed to writing one blog post everyday as part of his practice. He admits that doesn’t mean every post will be great, but suggests that the practice has helped make him a better writer.

Certainly this is the type of commitment artists make to their craft. While you might immediately think of classical musicians when I mention this, I know one visual artist that painted every day during his honeymoon (and is still married some 45ish years later); another who sketches at every opportunity, even when he is talking to you; and of course many writers and diarists who have a daily discipline.

But I also know some people who cut back on blogging everyday with a goal of only writing when they had a quality thoughts to share. In my opinion, they achieved that goal. There is definitely a difference between the goal of only expressing valuable ideas and the goal of becoming a better writer, but simply writing every day won’t help you obtain that goal.  I have talked about deliberate practice in earlier posts.

Godin opens his post pretty much directly addressing performers, though it is certainly a metaphor for broader practice.

We’re not entitled to an audience, to applause or to make a living. The work we most want to do, the thing that pushes us to be show up — it might not resonate with the audience we bring it to.

There’s no guarantee, none at all.

But that doesn’t mean we shouldn’t show up. The lack of a guarantee is precisely why the work is worth doing, because it’s the guarantee that we’ve been brainwashed to require, and without it, few people have the guts enough to show up anyway.

I don’t know that he provides any insight into  where persistent labor veers into futility, but the last line does provide one criterion for knowing your efforts are meaningful:

Outcomes are important. Figuring out how to serve our audience is essential. But the outcome isn’t the practice, the practice leads us to the outcome.

Find work worth doing, and begin there.

After you begin, persist with the urgency of generosity. Which is the best kind of urgency.

Verdi At Bat

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Maybe we should be keeping an eye on Tulsa Opera. Back in August I wrote about a film that was screened in my venue about Tulsa Opera’s casting a transgender person as Don Giovanni. A couple weeks ago, I saw link to an interview with Tulsa Opera Artistic Director Tobias Picker about a production of Rigoletto they staged in October on a baseball field so that they could have socially distanced performances.

The Tulsa Drillers minor league team offered the use of their field to the opera. Looking at the pictures attached to a review of the production, it looks like the opera embraced the opportunity fully. Performers strode out on to the field wielding baseball bats, toting beers and wearing jerseys proclaiming their membership in “The Dukes” baseball team.  The conductor wore a Maestro jersey.

The English translation appeared on the screen of the jumbotron and apparently the program consisted of “packs of trading cards that included photos of the cast, along with their operatic “stats” (character descriptions and past roles).” The Tulsa Driller’s announcer served as narrator.

I found a couple short Facebook videos of the production so you could see it in action, but there are also quite a few photos attached to the review.

It looks like Tulsa Opera only had one performance, but they managed to get an audience of 1800 people. (There are indications they had some preview performances so attendees at those performances might be part of their total production attendance.) The show was cut to a 90 minute performance and was followed by a fireworks display.

You have to applaud their creativity and efforts to find a way to mount a socially distanced production. I haven’t come across any definitive numbers indicating whether they attracted people who don’t normally attend opera.  I have to wonder if they found it rewarding enough to try something similar in the future.

Government Cultural Policy Making For The Unknown

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Last day in my series this week covering the UNESCO document, Culture in crisis: Policy guide for a resilient creative sector. Big thanks again to Rainer Glaap for calling attention to it. As much as I try to keep an eye on international culture developments, Rainer is much more plugged in than I am. I definitely benefit from his multi-lingual fluency.

The last section of the UNESCO policy guide, Enhancing the competitiveness of cultural and creative industries, is couched in much broader terms than the previous sections.  This is largely because it is focused on assessing what the next normal post-Covid will be and creating policies to support training and development of cultural & creative entities to operate in that unknown environment.

The subsections here are: Participatory needs assessment and feasibility studies; Adapting business models; promoting national content; tax incentives for foreign investment.

The needs assessment section advocates needs assessment and feasibility studies to see what will help the creative sector. They advise taking the time to clearly understand needs, but don’t make perfect the enemy of the good and delay implementing the first phases of needed relief until the most complete study had been made.

Adapting business models is an area that is familiar to anyone who has participated in the digital delivery vs. live experience debate. The document says the old models will no longer be valid so work needs to be done to understand, implement and support the new models. While there is a suggestion that the next normal will involve digital, it also allows that this may not ultimately be what emerges as a dominant practice.

Indeed in a recent podcast interview Drew McManus did with Scott Silberstein and Mark Larson, it was noted that when TV first became a new medium, people didn’t understand its full potential and were basically doing radio shows on TV.

In previous entries, I hadn’t really called attention to the good practices portion of each section where they list what different countries are doing as examples of what is being proposed. However, I did want to call attention to the partnership between Mexico City and Buenos Aires mentioned here. If two cities in two different countries can partner to provide content to their respective audiences, there is definitely an opportunity for cities in different states within a country like the US, (or provinces/territories in Canada, etc) to work together to illuminate the value of the resources in their cities:

The Culture Secretariat of Mexico City, Mexico and the Ministry of Culture of the City of Buenos Aires, Argentina agreed, in April 2020, to combine their digital information and dissemination platforms to present the diverse artistic and cultural expressions of both countries to wider audiences, using the most modern technological means.  Thanks to this agreement, the Mexican platform “Capital Cultural en Nuestra Casa” (Capital of Culture at Home) and the Argentine platform “Cultura en Casa” (Culture at Home) offer a wide variety of programs that are part of the cultural life of both cities.

The Promoting national content section of the guide seems focused on emphasizing the value of domestic content over that of international content. I suspect that the international content they have in mind originate from pop culture producers like the U.S. At the same time, I don’t think I am alone in feeling the U.S. government does a poorer job of promoting its non-movie/television/streaming creative content both domestically and internationally so this is definitely a tip to be embraced all around the world.

On the other hand, the last section of the guide, Tax incentives for foreign investment, pretty much promotes the use of tax credits to attract foreign film and television production to different countries.

In any case, these three entries have been a significant summary of the content of this document. If anything written in the first or second entries catches your attention, take the time to do a deeper dive.

 

It’s More Than Just Naming A Minster of Culture And Other Measures To Help Creative Industries

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To continue where I left off from yesterday’s post about the UNESCO document, Culture in crisis: Policy guide for a resilient creative sector, the next section addresses providing support for cultural and creative industries in the wake of the Covid epidemic. Whereas the policies covered in yesterday’s post were more targeted toward helping individual artists and organizations, this section is more focused on broader sectors. This part of the document has seven separate sections, but I don’t intend to take screenshots of them all.  Some of the proposals aren’t as relevant to non-profit arts organizations so I will summarize rather than going into detail.

The measures proposed in this section include: Accelerated payment of aid and subsidies; Temporary relief from regulatory obligations; compensation for business interruption losses; relief from taxes and social charges; stimulating demand; preferential loans; strengthening infrastructure and facilities.

Since I am writing from the bias of a U.S. based non-profit, some of these measures aren’t as significant as others.  Accelerated payment of aid is basically the suggestion to pay disbursements on grants already in place rather than waiting for final reports or the completion of services in order to allow organizations to remain liquid and finish all that stuff.

Relief from regulatory obligations as described in the document are focused on broadcast networks. I am not sure there are a lot of regulations in the U.S. that are inhibiting organizations from staying liquid and aren’t important for protecting workers and participants (i.e. those that deal with employment, health and safety, supervision of children in camps).

Similarly, relief from taxes doesn’t impact a lot of non-profit arts organizations. In some locations where the organization is making a voluntary payment to local government to support infrastructure, some discussion about payment is probably worthwhile. For those organizations that pay local/state sales tax, getting that removed in a time when tax receipts are way down is probably an extremely difficult conversation.

The preferential loans section is a valuable proposal, but the content of that section can be summarized as: The loans should be made, but the banking sector has insufficient understanding of the variations in creative organizations necessary to evaluate them for creditworthiness for loans so the banks need to be trained first.

Compensation for business interruption loss of course is a big issue, especially in terms of insurance paying claims. This section definitely is definitely worth reading since it is so relevant and balances the concerns of both government and industry.

Stimulating demand is a really interesting section and something folks in the U.S would love to see the government embrace. Look at that first line “The State is sending a clear message that the art and culture are essential services to which all citizens must have access.”

I appreciated the fact they noted change and results wouldn’t happen immediately and counseled a long term view.

I also think the observation that ministries of culture (or the NEA in the case of the US) does not have the expertise to stimulate demand is valuable to note. This is something extremely important to acknowledge when it comes to discussions about elevating arts & culture to Cabinet level position in the U.S. government. It isn’t enough to have someone in the position, the overall policy and practice of the government must be aligned toward cultivating both supply and demand. Even if the culture secretary/minister portfolio doesn’t have the ability to stimulate demand, government policy should be that those that do work hand-in-hand with the culture secretary/minister toward that end.

I debated whether to take a screenshot of the Infrastructure section because it states the well-known and easily summarized “Edifice Complex” truism. People like to fund impressive looking structures, but don’t want to fund the programs or people or programs that will inhabit the structures. However, I feel like we can all use the vindication:

Saving Culture and Creativity Without Compromising Their Best Interests

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Very big THANK YOU to friend of the blog Rainer Glaap who sent me a link to an UNESCO document, Culture in crisis: Policy guide for a resilient creative sector. At this point I think I am going to approach this document over the course of multiple entries because there is so much I see to talk about. At 56 pages, it probably isn’t comprehensive but the suggestions it makes are well-considered.

UNESCO proposes three different areas in which governments can take action to support the culture and creative industries in light of the impact Covid has had upon them: 1 – Direct Support for Artists and Cultural Professional; 2- Support for Sectors of the Cultural and Creative Industries; and 3- Strengthening the competitiveness of the cultural and creative industries.

They have a number of proposed measures within each area. Today I am going to focus on the Direct Support area which had four suggested course of action areas: Social Benefits, Commissioning and purchase of works, Compensation for loss of Income and Skills Development.

I am going to provide screenshots of the content because I think they do such a good job presenting it. In each section they describe the measure, explain why it should be chosen, things to consider, pitfalls to avoid and then examples of good programs in different countries with different budget resources.

I appreciate the international perspective for the wide range of ideas of how to approach Covid related challenges, but also because it acknowledges not every country has the resources of a large industrialized nation, but can take effective measures to cultivate and preserve creative and cultural resources and practitioners.

What I really loved was Actions to Consider and Pitfalls to Avoid sections of each area because they anticipate things like support being perceived as hand outs or make work schemes as well as the problems with employing institutional standards to individual practice.

This is the one for the Social Benefit measure

Here is the one for commissioning work.  Take note about the concern for maintaining intellectual property rights, valuing the work properly, supporting artists but guarding against institutional seizure of power.

Here is the one for compensation of lost income. Note the concern for proper remuneration for female artists.

Finally, the skills development measure which is focused on experimenting so creatives are ready for the next normal.  Note that among the concerns is that this not be viewed as a stopgap until things revert back to “normal” as well as that the skills developed be put into practice quickly.

As I mentioned, there are also explanations of each category and examples of good international practices which I didn’t screenshot for this post so definitely check out the document to learn more.

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