State of the Arts

Must…Listen..To..Classical…Music…

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About a month ago I was attending a cocktail hour with other arts professionals a gentleman expressed concern to an orchestra administrator over the fact that he didn’t get classical music. He figured that as he got older, one day classical music would click for him but it hasn’t and he didn’t know why.

The answer the administrator gave didn’t really impress me. It is a tricky question to be sure, but she didn’t seem to be trying to convince him to attend or even offer suggestions for how to prepare ones self to attend. But I think a lot of arts organizations, regardless of genre, fail in this regard. That wasn’t what I wanted to address today anyhow.

Even though his comment carries the implication that classical music is only for older people, it also suggests that he sees enjoying the music as a sign of maturity. He seems to feel it is part of his development as a person and is a little concerned it hasn’t clicked for him. That he wants to like classical music may be reason for optimism if it is an indication of a sentiment that permeates the culture.

If it does, then that means there is still something that classical musical organizations can appeal to if they can figure out how to address the unease of not liking something you figure you should. The guy I was talking with was only 40 something so addressing the concerns he and his cohort have can go a long way in skewing median audience age younger.

I really don’t know what the answer is. I am essentially in the same camp of wanting to like the music more but not really able to get invested in it yet. Not finding the answer will represent a missed opportunity. This assumption that one should become more involved with classical music as one gets older may only be generational and a result of values passed to us by our parents. There is no guarantee that this idea is sitting as a subtle compulsion in the subconscious of the next generation.

How Will Your Organization Live On?

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In the past, whenever I would get anxious about whether a marketing plan would work, I would always think about New Coke. If ever you think that someone who is smarter, has a bigger research and marketing budget, more personnel and resources could do a better job, all you have to do is look at new Coke to realize having these benefits at your disposal are no guarantee of success.

Now as we watch Bears Stearns, Merrill Lynch, Lehman Brothers, AIG Insurance, Fannie Mae, Freddie Mac and Washington Mutual encounter troubles we are basically provided with more contemporary examples of how this is true.

Of course, even if your marketing budget is 1/100,000,000,000th of Coke’s, the stakes and disappointment if your plan fails are not equally exponentially less than they experienced. In fact, since there are fewer people to distribute blame around to, your experience may be greater.

It can also take far fewer and far less severe mistakes and mismanagement to lay your organization low. The events of the last few months have brought an all to familiar reminder of organizational mortality. If there is one realization most non-profit arts organizations embraced long before the for-profit world, it is that there is no such thing as “too big to fail.” A great many arts organizations have experienced “donor bailouts” and come back strong while the cash infusion allowed others to linger awhile longer before finally closing.

The reminder for many arts organizations is that they don’t have any intrinsic right to exist. There were far more people invested in the continuation of the aforementioned corporations than have ever willed the continuation of an arts organization. As a result some of these companies have been bought out or merged. But as of the time of this entry, it doesn’t look as if anyone is going to step forward to save Lehman Brothers. There have been some merger partnerships between arts organizations in the past to save one or the other of them (first that comes to mind is Asolo Repertory Theatre and Sarasota Ballet circa 1997). But for many arts organizations, that option doesn’t present itself.

As many organizations of every type are wont to say, a organization is not the physical presence as it is the people and ideal that it represents. If anything is going to remain of an arts organization after its demise, it is that. If an arts organization is smart, they will devote a lot of energy to cultivating and sustaining their image and ideal throughout their existence.

Pam Am Airlines once spanned the world regularly serving every continent except Antarctica. The airline failed in 1991 and subsequent attempts to resurrect air service under that name likewise failed. However, the cachet of the name is still powerful and currently appears with the familiar logo on the side of railroad freight cars. The company even named their quarterly reports (of hopefully their success) Pan Am Clipper, the terminology the airline used for their planes. And people still hold hope that the airline will fly again. In a Forbes article last year, a Miami attorney was looking to license the name for an airline flying internationally.

Few arts organizations have that sort of name recognition on a national level. But it is possible to generate value for an arts organization on a local or regional level. Given that it is quite possible we are in a transitional stage for the way the arts are presented and experienced, many arts entities may go out of business over the course of a few years. The name may re-emerge as with Pan Am, with a different physical manifestation altogether but with intangibles like the core identity, quality and values transferring intact.

The Asolo Theatre moved operations from a theatre that originated in Asolo, Italy into a theatre that originated in Dunfermline, Scotland. Arena Stage moved across the Potomac River into Virginia and no one doubted they were the same organization. Identity is not tied to physical places. Now if either went out of business and reemerged as a video game developer or communications company, their new customer base would probably have few overlaps with their old one. But there would still be a association with quality entertainment experiences lingering in people’s minds which can have positive results for the new companies.

Inciting Incidents

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I have recently been reminded that it is often a small incident rather than a major one that coalesces people into action. There is often no way to plan and maneuver these events into happening. Rosa Parks sits on a bus. Surely there were other people who did the same thing and met with consequences. Why then? Why that day?

When our new assistant theatre manager started a year ago, he preferred to work at a desk I hadn’t anticipated him wanting. Because we stored often used files and binders in and around the desk, I have often had to ask him to move while I retrieved it. We didn’t have time to reconfigure things until this summer which is when I suggested alternative layouts a number of times. But he never really seemed motivated to do anything. Then Wednesday I asked for his help in running an internet cable through a hole in the wall. Thursday morning I came into work and the whole office was reconfigured. I have gone into work in jeans the last two days to continue with the clean up and rearranging.

Why was the running of that cable the spark that got things going? I have no idea. I would have preferred this all to happen over the summer when I had more time. On the other hand, it provides a welcome break from reviewing last month’s expense and payroll reports.

I had the same thing happen in an online game in which I help create scenarios for players. My attempts to spark interest with subtle and blatant promises of lurking menace and untold riches have gained limited involvement at times. However a group of organizations decided to talk about setting minimum pricing for their wares and the whole game went up in arms with battle lines being drawn between erstwhile allies. I was flabbergasted at the retributive activities and threats that emerged almost immediately between people who had been friends for years and years.

It is pretty clear to people in the arts world at large that a change in the way we do business is both necessary and imminent. The problem is that no one knows what form the change will take or how to bring it to fruition. This is not to say that people aren’t trying. Arts professionals are thinking, talking and doing all sorts of little things that are hopefully greasing the skids for what is to come. But if the change is going to come from an unexpected quarter, by definition there isn’t a lot anyone can do to control its emergence. Despite the best intentions and efforts to facilitate a transition, it could be a rather bumpy ride if people are concentrating their efforts in the wrong areas.

Well At Least The Musicians And Administration Are Getting Along

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This Sunday, Honolulu Symphony principal conductor Andreas Delfs expressed some strong sentiments about the way his organization had been treated by the city. The symphony performs in the city owned Blaisdell Hall and was bumped out last year by the production of The Lion King which did not help their tenuous financial situation in the least.

Said Delfs in the Sunday newspaper article,

“I’ve never worked with an orchestra that was so good and that got so little respect from its city. I’ve never seen a city treat a major cultural and educational asset so poorly. And I think it’s been a long tradition — I don’t want to blame anyone in particular — of taking this orchestra for granted and not realizing how good it is. The people who make our lives difficult don’t really know what we’re doing.”

One of the problems the symphony is facing is that the city is limiting how far out they can schedule dates which the symphony says prevents them from engaging guest artists who arrange their appearances years in advance. Delfs says it is because the city is skeptical about the symphony’s financial stability. Another thing that makes the symphony anxious is the looming threat of another extended run of a Broadway show that might displace them from the performance hall, and in all probability, from existence.

The symphony sent out a letter to its supporters asking them to contact government officials. The letter reiterated most of the details in Delfs’ interview and expanded on their perspective of the situation.

“Blaisdell Concert Hall was always intended to be the home of the Honolulu Symphony.In fact, it was one of the reasons for its construction. The presentation of symphony concerts was a major contributing factor to its architectural design. There are by-laws allowing for the Symphony and other local performing arts organizations to have preference in securing their dates.The City and County of Honolulu continues to negotiate to bring in acts during the Symphony’s prime season. By our rental agreement, the City is required to offer an alternative venue when the symphony is bumped out of Blaisdell Concert Hall.The alternative venue offered to the symphony is the Waikiki Shell which requires amplification, provides no outdoor coverage or protection for audience or orchestra, and is unsuitable for live classical symphony performances.”

However, according to an excerpt they quote from The Honolulu Symphony: A Century of Music by Dale E. Hall, the symphony doesn’t enjoy the same relationship with the city that other symphonies do.

“The Symphony is not a “favored tenant,” a status particular performing groups sometimes enjoy in city charters. According to the standard rental agreement, the auditoriums director “may give preference” to Hawaii-based non-profit organizations, but has “full authority” in scheduling, taking into consideration “a diversity of events” and “possible financial return to the city and the overall benefits.”

This is unfortunately the latest of many problems the symphony has faced since I started writing about them three years ago. It is something of a shame because unlike the recent situations in Jacksonville, FL and Columbus, OH, the Honolulu Symphony musicians, administration and board seem to be getting along okay. Feel free to correct me if I am wrong, but I think this is the first time a principal conductor has gone to bat for the musicians during the difficulties of the last few years. If any have, I doubt they had Delfs’ pluck.

(Though I wouldn’t doubt my Inside the Arts compadres, Messrs. Spigelman and Eddins would be equal to the task, I hope they never have to face this situation.)

I can appreciate the position the city is in. The face a choice between the income from a 6-12 week run of a Broadway show versus the uncertain future of an organization that has been facing an uncertain future and having a hard time paying the bills for a number of years. (Disclosure: They owe my facility money too, though not so much that we would refuse to rent to them once they clear their account.) It has been a long, anxiety filled period for a lot of people. I have a lot of sympathy for them.