State of the Arts

Arts Presenters 2012 Edition

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I have been attending the Association of Performing Arts Presenters (APAP) conference this past weekend. I am sure I will have more to say on the subject in future entries, but I wanted to post a few reflections and impressions while they were fresh.

First, I wanted to give some congratulations and props to Mario Garcia Durham, the new President and CEO of APAP on this, his first conference with the organization. I had met Mario a handful of times before in his capacity as the Director of Artistic Communities and Presenting at the National Endowment for the Arts. I was always set at ease by his open and welcoming manner when I had consultation sessions with him.

I took it as a good sign that he invited the Emerging Leadership Institute participants and alumni (of which I am one) up to his suite to discuss what we felt was the future for the field. We didn’t have a lot of time with him, but it was a promising sign. I also thought it was a promising sign that he got a standing ovation at the start of the conference from the membership. (And even more promising that he decides to discard a long speech he had prepared at another gathering!)

For this conference, I decided to break out my laptop and do a little live tweeting from different sessions. I had a great time doing it and could really see the utility of the activity for the conference, and somewhat by extension, for Tweet Seat programs that have been emerging at various arts events. I will say though that I really felt that I ended up missing many aspects of the sessions I was attending. Not only in terms of not entirely absorbing points people were making, but also some of the nuances of what they were saying. Even though my brain and multi-tasking abilities may not be on par with those of the younger generation, I can’t help but think they would indeed suffer from the same situation.

I was also surprised given the size of the attendance that more people weren’t tweeting from the various discussions going on, at least not on the official hashtag, #APAPNYC. Didnt see much on the counter-conference hashtag #APAPSMEAR, either. Many people used the hashtags to promote their showcases, but didn’t really seem to overdo it.

I was a little disappointed that there weren’t more people tweeting from the sessions because there were often a number I wanted to attend running concurrently and with a few exceptions, no one was reporting what was transpiring in those rooms.

On the other hand, there were a fair number of people following along. I appreciate all those who signed up to follow my twitter feed. Between those who started following me and those who were tweeting themselves, I found a number of new interesting people to follow in turn.

One interesting thing I noticed was a change in the underlying theme of the discussions at the conference. In the past it has often been about declining attendance and funding. This year it seems to be more focused on social and cultural trends, perhaps thanks to the Occupy Wall Street movements. People were talking about loss of identity, disenfranchisement, fragmentation and polarization of society.

Questions were raised about what role arts organizations would have in addressing this and place in the community rather than how to get more people through the doors. One of the major speakers at a few of the sessions was John Fetterman, the mayor of Braddock, PA who has attracted a lot of national attention for his efforts to revitalize his town and reverse the decline by the use of art and community efforts. As part of one effort, they took the bricks from a demolished garage to make a communal bread oven.

I will try to post more on the conference in the weeks ahead as I am able to digest the experience.

Market Forces and Education

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Looking back at some old posts, I really started to think about the conflict of market forces and education. I was reading an old post that cited Tony Kushner’s proposal to eliminate the BFA in favor of a liberal arts education because the BFA gives students too narrow an education. In the same post I cited a professor at Julliard who wrote, “The longer students stay in a conservatory the narrower their definition of life in the arts becomes.”

My thought was to write a post warning that if we are going to claim that an education in the arts bestows a wide ranging creative world view being sought by business today, we had better make sure that was what students were getting.

But then I got to the end of the entry where I wrote,

“Students are looking for the minimum training they will need to get a job… If you tell a student that if they want to be an actor, they need to spend four years pondering philosophy, history, literature and all the rest and then they can go on to get a masters in acting and then go get a job, the student is going to take their tuition money to your competitors, independent acting classes, or use it to move to NYC to try their luck.”

Which reminded me that this is the exact problem the acting program at my college is facing. There is some resistance to hiring a full time replacement for a professor who recently retired because while the classes are always pretty well enrolled, few of them go on to earn a degree. Some of this is certainly a result of students who are having a hard time with classes, but it is also because a lot of them are taking what they know and are going out and working.

We recently sat down to make a “Grads Made Good” list. It wasn’t difficult to think of people who were out there actively performing or doing production work. Some of them were even making a decent living at it. The problem was, few of them actually graduated. These people don’t count even though they are regularly engaged with the school either as part of the college’s productions or as members of groups who rent the facilities.

While this problem can be chalked up to counting and valuing the wrong things, the bigger question is what we should be expecting of students. Should we accept and accommodate the fact that they will only remain enrolled long enough to pick up the skills they see as marketable to them? Do we insist that this short term solution will prove insufficient to support their careers over the long term? (If that is indeed the case.)

Diversity vs. the Brand

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Apropos to the recent aggregation of articles on You’ve Cott Mail about diversity in the arts, I wanted to point back to a post I did a few years ago about the pressures of protecting the brand image which may make it difficult to achieve diversity.

In the post I point to how everyone from Ivy League universities to car companies will willingly eschew the opportunity for immediate gain in order to protect their brand image. Arts organizations may have the best intentions for diversifying audiences, but the fact that funders/donors/sponsors may desire to have their name before the eyes of certain demographics will drive many choices that are made.

Side Effects of Cultural Policy

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I hope everyone had a wonderful and restful Christmas yesterday. As I understand it, today is the seventh day of Hanukkah. And of course, we are just in the beginning of the 12 days of Christmas (which gives those who have procrastinated in their gift shopping to save face by the Feast of Epiphany.)

It is frequently mentioned that Hanukkah was never really a significant Jewish holiday but that its proximity to Christmas celebrations helped to make it so. That idea of how cultures influence each other is related to today’s blog post retrospective.

Back in 2005 I made a post about indirect outcomes of cultural policy. The fact that the U.S. doesn’t have a cultural policy is a policy of itself, but unfortunately limits the conversation we can have about the value of the arts. Yet the U.S. government actively used it arts and cultural assets as soft power influence around the world.

I also talk about how artist lead gentrification can improve neighborhoods and how the same high rents which displace the artists which made it happen can also result in the destruction of ethnic enclaves.