Wait, NZ Arts & Culture Sector GDP Grew At Nearly Twice The Rate Of The Whole Economy?

by:

Joe Patti

A couple weeks ago, New Zealand’s Manatū Taonga Ministry for Culture and Heritage (MCH) proudly announced that the GDP growth for the Arts and Creativity Sector was nearly double that of the economy as a whole for a 12 month period ending March 2022.  “The GDP of $14.9b is a 12-month increase of 10% – compared to total economy GDP growth of 5.3%.”

Some of the highlights from the report:

  • There are more than 115,000 people whose primary employment is in the arts and creativity – that’s a 3.8% increase from March 2021 to March 2022.
  • There are almost 36,000 businesses in the sector
  • Over 10,000 Māori hold primary employment in the Arts and Creative Sector
  • The Māori arts and creative sector contributed more than $1.3 billion to GDP in Aotearoa

As I wrote back in 2017, Maori intellectual property rights has been a point of tension, because as has been the case with many indigenous cultures, there have been differences of understanding both in the wording of treaties and with the concepts of property ownerships.

I am not sure how the ministry categorizes what falls under art and what falls under creativity, but the arts alone account for a much smaller slice of that GDP number (.8%) according to the article summarizing the report. However, that part of the sector is still seeing pretty good growth with employment at 2.8% compared with the 3% for the country as a whole. While arts workers are far more likely to be self-employed than people in other parts of the economy, it is apparently a growth area.

I was pleased to read that most New Zealanders working in the arts sector were considered to be performing highly skilled work, especially in comparison with the rest of the occupations in the country.

In news that will come as no surprise to many, the Arts Sector has 11,641 self-employed workers – accounting for 42% of the sector’s workforce and more than double the total NZ self-employment rate (16.2%).

Interestingly, that rate has increased by 8.1% over the past 15 years compared to the overall self-employment rate in New Zealand which has decreased by 0.9%.

80.7% of the Arts sector workforce are employed in what is described as highly-skilled occupations. This is higher than for all occupations in New Zealand (38.4%).

That number doesn’t look set to drop – Infometrics estimates that between 2023-2028, there will be 10,091 total job openings in the Arts sector (30.3% expected to be new job growth) with three-quarters of those positions likely to be highly-skilled jobs.

More Ballet And Body Weight Related Legal Action

by:

Joe Patti

Apropos to my post yesterday about Richmond Ballet dancers suing the organization for exerting so much pressure about their weight, there was another story a couple weeks ago that I forgot where the Executive Director and Artistic Director of the Cleveland Ballet were suspended after they chose not to renew the contract of a dancer who was hired to teach outreach classes at the Boys and Girls Club due to her weight.  After advocating to retain the dancer, the Outreach Director was told his contract would not be renewed either.

The events that led up to learning that news from Becker started at a School of Cleveland Ballet staff meeting on Aug.  1, where Guadalupe saw a photo of Harris teaching the tendu movement that was included in Becker’s outreach newsletter.

“[Gladisa] told me that she could not release the newsletter I had been working on, that the mockup was no good. She simply said, ‘the tendu picture,’ and I knew what she was gunning for at that point,” Becker said.  “I even asked the Artistic Director, ‘It seems like you’re insinuating that someone’s size or body weight would somehow be able to disqualify them,’ and before I could even finish my sentence, she’s just nodding. I was told that this fine teacher did not have the physical aesthetic required to teach tendu and pliés to the Boys and Girls Club children.”

[…]

Two days later, Becker wrote down what happened at the meeting and hand-delivered his account in a letter to Lilia Shtarkman in the Cleveland Ballet’s human resources department, but he never received a reply. He also tried but failed to meet with their HR consultant, Lana Krasnyansky Sokolinsky — who is Michael Krasnyansky’s daughter and Guadalupe’s step-daughter — before Becker was told his own contract would not be renewed as manager of the outreach program.

The news article goes on to note that while Cleveland Ballet has a policy of not discriminating against people who are members of protected classes, body size is not a protected class. Still the Ballet board conducted an internal investigation and engaged outside counsel to also investigate. Ultimately, the board decided to suspend the artistic and executive director pending the results of that investigation.

Ballet Dancers Sue After Pressure Leads To Eating Disorders And Health Impact

by:

Joe Patti

Last week Artsjournal.com linked to an article that may represent a significant continuation in the discussion about body weight expectations in ballet and dance in general.  Two Richmond Ballet dancers are suing the company for exerting so much pressure regarding their body weight that harmed their health and lead to them developing eating disorders.

According to the Axios article:

One of the dancers attended Richmond Ballet’s school from ages 6 to 15, per court filings. A second was a member of the ballet’s trainee program for adult dancers pursuing a professional career.

The lawsuits allege the ballet’s artistic staff set an “optimum Body Mass Index” for each trainee upon entering the program and that staff reserves the right to terminate trainees if they are unable to maintain that BMI.

[…]

Also, staff warned dancers who gained weight after being cast in roles that they would be replaced if they didn’t lose weight, and students as young as 10 who didn’t meet the ballet’s “skinny body” standard received what were commonly referred to as “fat letters,” the lawsuits allege.

In the ballet’s response, they noted that actors are often asked to lose weight for roles. While it may be true that not all actors are expected to have a certain body type and weight from the moment they walk in the door to start their training, there is some truth to weight, height and other elements of physical appearance being significant criteria by which actors, especially women, are judged and factor into career success.

Unfortunately, the Ballet made some rather cavalier statements abrogating responsibility for the emotional health of their students and trainees.

The ballet has denied all of the above allegations and has argued that, even if they were true, the conduct described wouldn’t violate state law.

During a hearing earlier this month, the ballet’s lawyer, Lindsey Lewis, argued that the ballet setting weight requirements for a role is “no different than an actor being asked to undergo a body transformation.”

The ballet argues it had no legal duty to provide for the dancers’ emotional wellbeing and happiness, noting the trainee was an adult and the minor student was under the care of her parents.

Isn’t It Better To Be Damned If You Do Try

by:

Joe Patti

Chad Bauman, Executive Director at Milwaukee Rep made a post on LinkedIn today where he acknowledged that making a change in a business model can threaten the existence of an organization, but that changing times and expectations often leave you no choice.  While he is talking about the current challenges performing arts organizations face, he cites a series of decisions Milwaukee Rep faced in its early years that nearly saw the end of the theater.

Milwaukee Rep had a similar crisis nearly a decade after its founding. In its earliest years, it built a large audience based on the star system bringing big stars to Milwaukee to perform. In 1961, the star system was abruptly ended and a resident acting company was founded. In less than a year, the theater lost 60,000 patrons, or two-thirds of its audience. It took seven years for the theater to rebuild its audience and it nearly went bankrupt on multiple occasions. The decision was a correct one as the theater would eventually grow to more than 150,000 patrons, but it almost collapsed along the way.

The star system was common practice in theater in the late 19th century that waned rather than something Milwaukee Rep specifically was doing and decided to end. While the star system is most frequently associated with film studios, they adopted it from theater which apparently borrowed the concept from P.T. Barnum.

I have seen stories similar to this in which arts organizations made decisions 10-15 years ago to make changes in their business models or change their programming mix to include segments of their community which were underrepresented in their audience and casting. They too came to the brink of closing.

There is obviously a bit of survivorship bias to some of these cases. Those that didn’t succeed in the shift weren’t around to talk about it later. With all the closures, downgrading, layoffs, etc that arts organizations are undergoing, we are hearing of many more stories of arts organizations who are having difficulty continuing their existence than we did 10-15 years ago. Some of them were in the middle of trying to effect change, others were trying to stick with what worked in the past so there is no clear indication about which approach may be better in these times.

Some that haven’t closed completely may reorganize and continue on as Milwaukee Rep did. I am sure no one wants to be faced with the prospect of it taking seven years and several brushes with bankruptcy to make a successful transition.   From one perspective though, it might be better to fail while trying to do better for your community rather than attempting to preserve the status quo for as long as possible.