Various Notes

I was listening to Fresh Air on NPR yesterday where Bill Moyers was being interviewed. There were a couple comments he made that struck a cord with me. Moyers was a primer mover in the formation of what eventually became the Public Broadcasting System. In discussing public television, he said “the most important thing that we can do is to continue to treat Americans as citizens, not just consumers. If you look out and all you see is an audience of consumers, you want to sell them something. If you look out and see an audience of citizens, you want to share something with them.”

This seems important to remember in these times when cultural organizations are trying to discover ways to serve their audiences better. As much as we adopt the methods and techniques of the for profit in order to address the changing expectations of the population, it will become important to remember that there are a few characteristics that separate the non-profit world from the for, and that is the intent with which we approach audiences.

Moyers also discussed the rise of blogging and likens it to the early days of the US as a nation when the low cost of printing presses provided “ink stained wretches” like Tom Paine with the ability to disseminate their views of the world. He notes the material they printed was very partisan and lacked the objectivity that journalists at least claim to aspire to today. Blogging today, he says, is the closest society has approached to the democratic expression of the nation’s youth.

Speaking of blogging and democratic expression, (since I speak of it so often)I was pleased to see the Artful Manager mention a theatre in Seattle which has provided audiences with the opportunity to blog about the shows they have seen. The first comment apparently came within 40 minutes of the show’s end. Since then there have been some additional entries.

The only disappointing element of the project is that comments are apparently approved of by a gatekeeper on staff. The comments are written by a number of people, but they are listed as being posted by a single person. In fact, in order to comment, you have to email your thoughts to a person whereas with my blog, you can comment on what I have to say immediately.

True, I can eventually delete what you have to say, but I have to find the comment first. This being my 52nd or so entry, that will become more difficult as time goes on. There is also the chance someone will read a critical comment before I remove it and catch me when I delete it. As I have stated before, if an organization is going to invite candor, they have to remove any appearance that they censor it out.

Blog Goal

I read a short article in the May 6, 2004 issue of Time about a website that embraced a goal that was similar to the one I have for this blog. Unfortunately, the article is not online to link to.

The article was about an American and New Zealander who have created an e-Parliament website (www.e-parl.net). Their goal is to serve as “a town hall for legislators from around the globe.” They created the e-Parliament to allow lawmakers the ability to common challenges. “[There is] no way for M.P.s to learn among themselves, no Google for politics.” says co-founder William Ury.

They hope to provide members with the ability to address issues more swiftly and effectively by allowing members to search for global colleagues who have already begun developing policy on issues like early childhood education and counterterrorism. According to the article, they are in currently trying to figure out how tools like email, chat software and intranets can be best employed.

This is a project I would like to grow out of my blogging here–collecting feedback and ideas to create a resource for cultural organizations to consult. Nobody is contributing right yet, but I have only been around for a few months. In time, perhaps….

Love What You Do

**Unlike most of my other entries which have some thoughts on the implications of situations and suggestions, today’s entry is essentially a discussion of why I remain passionate and involved in the arts.**

An interesting thing happened while I was writing my entry yesterday. I got an email from the place I last worked asking if I was interested in coming back to help with the festival for two weeks.

A little background first-I worked at this place for 3 years handling the operational end of concerts and the large outdoor music festival. A year ago Feb, they found out I had been searching for other work, not for the sake of getting out, but to better my lot in life. After the festival was over in June, I was told that they were afraid I would find a job in the middle of the season and that even with the 30 days notice I was required to give, there wouldn’t be enough time to find a replacement and so..adios.

Rather annoying to say the least. But they did give me 6 weeks notice, didn’t hesitate to pay me for my 4 weeks of unused vacation and didn’t impede my unemployment claims. I left on fairly good terms with a general letter of recommendation and they have been attentive about writing specific letters of recommendation for some positions.

On the other hand, unemployment has run out and their optimistic belief I would be snatched up for another job hasn’t emerged. (And I have applied outside the entertainment industry if I thought my skills were applicable.) Honestly, I feel that I should be angrier than I am. I had saved well, so money isn’t an immediate problem and my sister is allowing me to live with her so that is another problem solved. I just can’t be angry at them for the sake of being angry I suppose. I just wonder if that means I have an evolved outlook on life or if I am delusional and insulating myself from my anger.

Outside of examining the whole psychology of the matter, I have started to think upon the way people become enamored of the arts. Despite knowing the negatives full well, people gladly devote their lives to the arts. Even though they know that they will probably end up waiting tables or temping more than performing and will search couch cushions for food money while friends buy houses, they are full of hope and optimistic about their future.

Now even as someone in the arts, I have pretty much viewed these folks as living in denial and self-delusional. It is to escape that fate that I have eagerly embraced my interest in the administrative side of things. I may not make much, but it is steady so I know where rent and food is coming from and I usually get some basic health benefits.

Yes, my current situation belies all that, but it shall not always be so!

But the thing is, as I am sitting here seriously considering going back to a place that fired me, I have come to a renewed understanding of myself and these folks who flock to NYC and LA with the hopes of making it big. In our own twisted ways that defy logic, we can’t help the fact that we love this stuff.

At some point in the life of every person in the industry, someone speaks the phrase “If there is a part of you that can see yourself doing something else…do it.” I still remember the guy who said it to me. At the time, like most people, I was so young and enthusiastic, I couldn’t imagine myself doing anything else.

Now that I am older, more jaded, disillusioned and cynical, I have to say it is still pretty dang hard to imagine doing anything else. Even worse, I take notes and collect information from everywhere I work and interview at with the ultimate goal of eventually returning to teaching people how to do what I have done. Of course, I am teaching them the right way to do things so they are well prepared! I also utter the phrase warning them to turn elsewhere if they can imagine another path with the sincere hope some of them will.

I don’t want any of them to fail, but am certain most of them will experience some very hard times. I just see it as my duty to try to turn from the path those whose love of the arts can’t stand against a doom and gloom lecture in a classroom. Their love of what they do has to be strong enough to ease the pain of the bad times. It is because of my love for what I do that I am tending toward returning to the festival.

I have a real sense of ownership in that festival. I put a lot of effort into it and the successes of each of them were due to me (the problems were due to the weather). As far as I am concerned, the festival belongs to me and the people who preceded me in the job and to those who follow. Even now that I no longer work there, I feel it belongs to me more than it will ever belong to the rest of the staff regardless of how long they work there.

Yes, it is ego, but it is also true. It is physically and mentally draining, but when you are finally able to lift your head again…ah the satisfaction and sense of accomplishment! It buoys you the rest of the year and helps you to forget what you hate about the process by the time the event comes around again.

Because she is entering the fraternity of festival coordinators, I have actually been corresponding with the woman who replaced me and have given her tips to avoid the problems I faced. I had intended to volunteer for the festival day to provide guidance as the woman who preceded me did for me. The fact they want to pay me to do it and will put me up makes the decision seem all the easier. I will be going in knowing my fate, doing what I enjoy, see old friends on the staff and volunteer corps but won’t have to work or worry as much as I have done for past festivals.

Like a love a mother feels for a recalcitrant child, arts people defy all sense and logic for the opportunity to reconnect with that part of what they do that excites them. In the visual arts, there are pieces that people find incomprehensible and that others pretend to understand. Then there are those who smile quietly and say “ah, yes.”

Exposing, Part II

Yesterday I gave some information about questions I asked my mother and sisters regarding their experience with the arts. Today I wanted to mention some insights the whole exercise gave me. Some of the lessons learned were just about my family, but the process got me thinking about the way arts organizations go about collecting information.

First of all, out of curiousity I looked up some birth order studies and was mildly amused to learn that as the first born, I am not supposed to be interested in the arts. Though the study also says that I am supposed to be interested in intellectual and cognitive pursuits and I would imagine the fact I am producing this type of blog bears that out.

In speaking with my mother, it was interesting to see that her experience was mirrored in the second section of “Leverage Lost…” that I cited last week. While she didn’t attend any performances until she was in college, the arts had a greater presence in her life via popular culture. I had nearly forgotten that Broadway show tunes once topped the pop charts. I think the last cast recording to ever make it to Top 40 radio was “One Night in Bangkok” from Chess back in the 80s.

I think because she and my father were teachers we benefitted from their impulse to educate and expose us to as many things as they could on a budget. Neither of my sisters really remember going to any of these places which seems strange to me because I remember so many details so clearly. (1st Broadway show-Peter Pan with Sandy Duncan when I was in 2nd grade.) My second sister I can understand because I had a five year head start on her and our parent’s separation when she was nine put a damper on other experiences. All these experiences apparently didn’t make an impression on my other’s sister’s memories. Though a value for such experiences certainly seems to have been instilled in her.

I have to say I was surprised by the fervor with which Sister #1 responded. I had emailed her with my questions whereas I phoned my mother and spoke face to face with Sister #2. Perhaps she took advantage of the additional time she was allowed to answer the questions and mulled over her answers to make them reflect her image of herself as many survey takers do.

Knowing her as I do, I am aware of how enthusiastic she is on certain subjects and how interested she is in new experiences so I really feel her responses are genuine. As I had mentioned yesterday, I never really spoke to my family about their experiences with the arts before. I wasn’t really aware this was how my sister felt and it came as a surprise to me.

What really surprised me though was the answers from Sister #2. Despite having grown up in a house where music was always being played, having been in high school musicals, having lived in and near NYC and possessing a larger disposable income than myself, my mother or Sister #1, Sister #2 has the lowest attendance and participation in the arts and places the lowest value on the experience. Her outlook provided me with some insight into some of the challenges arts organizations may face.

I knew she was often busy at work and didn’t have a lot of time to attend shows. I also knew those she did attend were at the invitation of friends or as a result of something her company set up to entertain clients. It was intriguing to some degree to learn that while attendance wasn’t something she would instigate on her own, she possessed an elitist view that only productions in NYC were worth seeing. I don’t quite know if living and working in New York City shaped her view, (It is oh so very true that denizens of NYC view themselves as the center of the world on many fronts), or if it is because that is the only place she has seen performances.

There are a number of very good theatres in her immediate area like the McCarter and State Theatre as well as museums and two symphony orchestras. She was vaguely aware that some organizations did exist, but even knowing that she would have to travel and pass less for her experience, she was dubious about the quality of performance she would receive. I wonder how many other people living in the Princeton area have the same view of their local arts organizations. Knowing this might inform a better marketing and PR strategy for these places.

The brief process of interviewing my family got me to thinking about the market surveying arts organizations do. I have both administered and taken surveys and been a member of focus groups. I know that when you survey you have to be careful about how you word questions and how your non-verbal cues can indicate how you want people to answer. It occurs to me though that in some cases you might get better answers by being less clinical and more personal.

Instead of asking people what the last show they saw was and how they would rate it on a scale from one to ten, it might be better to draw them out by having a conversation about their experiences growing up and then segue into how they felt about more recent attendance. It seems to me if the interviewer is sharing their own ancedotes, the interviewed will being to feel comfortable enough to open up and provide a deeper sense of their relationship with the arts than they would for a neutral bias survey or focus group.

Certainly, it would be a more labor intensive process to survey in this manner. But when it comes to investigating trends and attitudes, you might be able to derive a better sense of things by talking to 20 people for an hour about their childhood experiences than by asking 60 people to answer on a scale of “often, sometimes, infrequently and never.”

It seems (and I say all this without any empirical evidence to cite) that people will provide a more complete answer if they are in a conversational mode where they feel they have time to think and reflect on past experiences rather than faced by a person with a clipboard whose demeanor suggests they answer quickly so the next question can be asked.

I almost want to say that the most conducive atmosphere is akin to people meeting to chat over coffee where the interviewer isn’t so much asking questions as nudging conversations in certain directions. The real question then is then how to conduct such an interview? I don’t really have an answer.

It is easy to get people who are really interested to turn out for such an event, but all that does is give you answers from people who you know already like you and the type of thing you do. Making sure you aren’t alienating your current audience base is fine. What you really want to discover is more about the people who don’t know much about you and what you do and find a way to educate and attract some of them to your organization. It ain’t easy. Schools have a hard time doing this and they deal with people who are required to be there by law. Getting people who are intimidated or unfamiliar with the arts to sit down and talk to you over coffee could prove difficult.

I would say the only solution is to take it slowly and be sincere about it. Have a juice and cookies reception after a children’s show and use the topic of their children as a conversation starter slowly turning the subject to their experiences as kids vs. their current experience with the arts. Show that you sincerely want to know about them and want to find a way to make it easier. If word gets around that you care and are easy to speak to, people may be more willing to accept invitations to express themselves at slightly more formal meetings. They may even start attending performances on the friendly reputation alone.

This comes back to what I have written quite a few times before–learning about people’s expectations and making a sincere attempt to answer them is really the name of the game for this technological age. The process of gathering the information is time consuming, but technology provides the tools to store, track and then act upon the information in a manner that is specific to an individual.