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 was as Executive Director of the Grand Opera House in Macon, GA. 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.

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Helping People Persuade Themselves

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Seth Godin made a post recently suggesting that the most effective persuasion occurs when we persuade ourselves.

The purpose of the memo or the table or the graph or the presentation is to create the conditions for someone to make up their own minds. Because it’s almost impossible to make up their mind for them.

This post seems to dovetail pretty well with the “Jobs to Be Done” theory Ruth Hartt espouses for arts marketing. This is the idea that people purchase things that they feel will solve problems they face. These needs are more complicated than just food, shelter, clothes, etc. The statement the food, shelter, clothes, etc., make about you and make you feel about yourself may factor in. So in that regard it may not be a product or service people purchase, but time spent with others, spent recharging, spent improving knowledge and expertise, etc.

As Godin says, the approach and tools you use to communicate with people has to facilitate them convincing themselves that what you offer will meet a need, solve a problem, complete a job to be done.

Ruth made a mock up video along those lines a couple years ago.  Some of the things Godin identifies as being barriers to self-persuasion are similar to issues Ruth has identified in arts marketing. They all have to do with mistakes people make when telling their story.

Godin writes:

Sometimes, we are entranced by our own insight, or impressed with our communication tools. We let facts, formatting and filigree get in the way of a good story.

And sometimes, we’re afraid of our power, so we bury the lede too far, letting ourselves off the hook by not influencing someone else.

Once in a while, we do the opposite. We say what we mean so clearly and so directly that the story disappears and the facts bounce off the inertia and self esteem of the person encountering them.

 

Mind Blowing How Much Close Family And Friends Add To Attendance Experience

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Some pretty compelling evidence that we should be encouraging people to participate in arts and cultural activities with family and friends. Colleen Dilenschneider and the folks at IMPACT released some data about whether school group visits to exhibit and performance based experiences translate into visitation as adults. (subscription required)

The answer is pretty shocking (my emphasis):

People who visited as children with their families generally do find cultural organizations to be welcoming, while folks who visited with groups are somewhat on the fence when considered as a collective.

Perhaps the most jarring finding is the lack of significant difference in welcoming perceptions among those who visited with school groups (or other groups) and those who did not visit as children at all. Visiting a cultural organization with a group generally did not impact attitude affinities as an adult.

They break out this data across a number of graphs in terms of household income and exhibit vs. performance based experiences and the results are consistent. Similarly, responses to intent to visit and the extremely important willingness to recommend to others followed similar trends. People who attended with family and friends had more positive responses than those who attended with groups or never attended.

It is important to note this data doesn’t separate out those who participate in longer term experiences like camps, residencies, classes, outreach programs.

The folks at IMPACTS have some theories about why there is so little difference between those that only have experiences with groups and those that have never visited as children. I encourage people to take a look at the article to learn more about this. They probably wrote 2000+ words on the topic and include a number of charts. I am just reaching 250 words here–including what I have quoted.

Thinking back about my own experiences as a child, I suspect that the modeling behavior of adults has a big impact on children. There are things I assumed about my life arc based on my perceptions of my parents and those of my peers when I was a child that I was surprised to learn were erroneous when I grew up due to the expectations they stated and modeled.

In the context of this data, it seems even more important to reflect on how we can make it easier for families to make the decision to attend. Really, I suspect that if you did the same research on 30-50 year olds who said the friends they made in college helped get them in the attendance habit, you would probably find a similar level of willingness to attend in the future or recommend to others. You might not find the same raw numbers as those whose parents/grandparents/neighbors took them, but socialization will probably still be a factor.

Facilitating the ease of decision making requires examining every aspect of the experience from programming, promotion, ticketing experience, parking, the welcome, concessions, and the departure.

Need To Create Promotional Content Competes With Need To Create Creative Content

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A few years ago I wrote a post about how actors were discovering that how many followers you had on social media was being taken into account during casting decisions. Vox recently had an article talking about how the same dynamic exists for authors and musicians.  Your book or music might be great, but the publisher may not be willing to take you on if your social media engagement is low.

It used to be that record labels wanted to control all aspects of promotion and prohibited the artist from taking their own initiative. Now it is the other way around where the publishers and record labels put the entire burden of marketing on the artist. The Vox article contains a couple Tiktok videos of musicians talking about this issue. They feel their artistic practice is suffering because they constantly have to be worried about whether they are posting too late in the day to get good reaction. Another said she had to use a spreadsheet to keep track of when and what she should be posting.

One of the big challenges about social media is that you have to balance looking interesting and polished, without looking too polished lest you appear to be engaged in inauthentic self-promotion. The musician Ricky Montgomery alludes to his video where he mentions that you can’t go into the woods to record for three months because you need to be posting “candid” video and photos from your sessions–his air quotes around candid.

To compound the issue as the article points out, consolidation of media and publishing has eliminated competition so writers are being paid less. Similarly, the prevalence of platforms like Spotify for listening to music means musicians are paid less as well. So the rewards for all this effort are less than before even as more people are able to participate as creators.

It wasn’t long ago that many people, myself included, were talking about the need for artists to become more business minded. This is still true in terms of things like better understanding the market in which you wish to sell your work, knowing how to speak to those without insider knowledge about your work, not getting cheated in contracts and payments, etc. But in some respects, the pendulum has perhaps swung in the other direction to far and too quickly where the burden of knowing all these things and more is required on day one without the space to transition into the knowledge and expertise gradually as your career grows.

 

Getting Into Art Can Require Seeking Something Of Yourself In Art

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Last month Vox had a piece by Courtney Tenz about how to interpret art. It isn’t the sort of article you can simply link a social media post to for your audiences to read. One of Tenz’s core points is that art often isn’t immediately digestible at a glance. But there are takeaways organizations can use when having conversations like “If art’s such a central tenet of our culture, though, why do so many of us feel like we just don’t get it?”

Tenz says one of the barriers she likely faces is being told by a teacher she would never truly understand the beauty of Monet. But she still desired a relationship with visual art:

I realized, I had to build a relationship with art. I not only had to take it in regularly — akin to something the writer Julia Cameron calls “artists’ dates” in her book on creativity, The Artist’s Way — but I would also need to sit with it when I did.

The first step she lists for learning to interpret art is to view it as an interactive adventure where you as the viewer have license to decide what is interesting and meaningful about the piece. In that vein, take the time to evaluate what you think about the work rather than just give it a passing glance.

Correspondingly, the second step is to be open to feeling discomfort with the experience:

…And truthful art can make people wildly uncomfortable. “But that discomfort is such an important part of the work,” Deal says.

In this case, part of not getting the art could stem from a reluctance to confront that discomfort. As Langer writes, teaching art is an education in feeling; when art gives rise to emotions that we do not always have access to, it can feel too tough to manage. Yet it is in grappling with those emotions that the connection to art — and, ultimately, understanding it — is forged.

“How do you teach a willingness to be uncomfortable?” asks Ovenden. Even as an avid lover of art, she finds the emotional response doesn’t always come easy. “It can be really overwhelming.”

The third step Tenz lists is related to the first – “Keep an eye out for glimmers of your own experience.” Finding what is relatable to your life and seeing yourself reflected in something contributes to an increased comfort and perhaps increased understanding.

“Or, as Karen K. Ho told me, if you start to think about the arts as a way of transforming time or transforming your experience — if you move beyond the surface response of “this is a nice picture” or “this is a picture that sucks” — then looking at art can be a really interesting endeavor”