Jumbalynka

by:

Joe Patti

Okay, I was looking at the NEA site today looking for more information on their Fast Track grant program and one link led to another and a found a number of interesting links I thought I would share.

The first is the Cultural Policy and the Arts National Data Archive. This is a sorta interesting place to visit because as the name suggests, it has a lot of statistical survey data that researchers might be interested in. But it also has a quick facts section with reports on some interesting things like how dancers transition from a career in that field into another area of activity (dancers apparently retire at age 34).

It also contains sections on topics like the public’s perception of arts, change of newspaper arts coverage from 1998 to 2003, religious buildings and libraries as cultural programming venues. There is a lot of generally interesting stuff and this site could provide a source of info for those doing arts advocacy.

Another really interesting site was Arts Anonymous. The site applies the classic 12 step program to the arts to provide support to those practioners of art who feel guilty about doing it and enjoying it.

The problem signs which indicate one might need help are:

1. We grew up in an atmosphere of invalidation which resulted in ambivalence about our artistic expression.

2. In any given twenty-four hour period we find ways, consciously or unconsciously, to avoid doing that which gives us the most joy — expressing our creativity.

3. We have withdrawn from our art by investing ourselves in lifestyles, relationships and work activities incompatible with our artistic purpose. Our creative energy has often been diverted into destructive compulsions toward alcohol, food, sex, money, drugs, gambling and preoccupation with the past.

4. We have made needless sacrifices for our art and yet are afraid to make the necessary sacrifices. We are unable to balance the significant areas of our lives — Physical, Financial, Social, Love, Family, Spiritual and Creative.

5. Self-defeating thoughts and societal myths turn in our heads: It’s too late — I’m too old — I’m not ready — I am not enough — Art is not practical — Artists are neurotic — You’ll starve. We have accepted these as true when, in fact, they are not.

6. We have felt intimidated by other artists’ success. Jealousy, envy, fear, self-pity, perfectionism, resentment and other character defects block our creative expression.

7. We stand always on the edge of a beginning, afraid of commitment. Fearful of pursuing our creativity as a means of earning a living, we get caught in the Amateur syndrome. The concept of supporting ourselves through our art has seemed overwhelming. We are unable to determine the monetary market value of our art.

8. We have thought of our art as divorced from reality, denying ourselves the right to follow our dream. We forget that artists are entitled to their right work and deserve the happiness and success that right work brings.

9. We deny our responsibility to fully develop and realize our talent. We do not feel worthy of the success we achieve or desire. We feel like a fraud.

10. Being multi-talented, we have difficulty discerning our true artistic vision, making a commitment to it and establishing the priorities to fulfill it.

11. We have difficulty following through on projects and frequently sabotage our efforts. We want to work at our art but don’t know how. We become impatient with the process, forgetting that the results come in God’s time, not ours. Our time is unmanageable.

12. We have been afraid of our creative energy and have mistrusted our creative instincts. Lacking spiritual awareness, we have not seen ourselves as channels for the infinite creative process. Our art is a gift to be shared.

Gotta admit, I have been there on most of the points and quite a few occasions.

I think I have mentioned the NY Foundation for the Arts. Though they are nominally focussed on the arts in NY State, I have to say that 80% of what you find on their website is pretty helpful in the rest of the country. You will find some of that information on this links page which has some interesting pages listed like the Support Center for Non-profit Management and Alliance for Nonprofit Management , Alliance for Nonprofit Governance and The Nonprofit Genie (among others, of course)

Another NYFA link I wanted to point out was their Marketing the Arts In Nonprofit Organizations. It has some sample press releases, promotional materials and a marketing guide. Mostly, I just like it because the page opens with the line “If you present a program and no one comes, did it really happen?” and I am easily amused.

Art from 1s and 0s

by:

Joe Patti

If you read reports on why people are no longer attending arts events, inevitably television, video games and computers will be mentioned.

What isn’t mentioned is that there is sort of a conservation of creative energy going on over the internet. Even though people are online more, there is a creative itch that they seem to need to scratch. Take for example the MUD Achaea (FAQ on MUDS here). They are a text based mud meaning no graphics are provided over the screen–all the colors, textures, etc are created within the player’s mind from the description presented.

However, for the past 5-6 years they have held monthly artisianal and bardic contests where players create visual representations of life in this text based game or songs/stories/poems reflecting the same. Considering that they also award runners up and merit awards, that is a fair bit of art being created to give tribute to an imaginary world.

Even more–they have a sophicated mechanism that allows players to create their own plays in game on a stage in one of the towns. It even goes so far as to allow you to set ticket prices, reserve private boxes, build sets and costumes and employ special effects.

This can give some hints as to the direction technology and theatre may be headed together.

Using MUDs for something other than entertainment has long been contemplated as seen in this paper on their use in education written a decade ago.

And the theatre world has been using a form of MUDs called MOOs to hold meeting and forum for almost as long. The Association of Theatre in Higher Education created ATHE MOO to provide opportunities for discussion and debate to those who couldn’t attend their annual conferences.

What Have I Found

by:

Joe Patti

Andrew Taylor touched on a topic today that was close to my mind. He discusses a new trend in search processes that is more akin to roleplay than interviewing.

The topic of interviewing processes has been in my mind recently because it appears I might finally have an assistant. (Joining in time for the last two performances now that I have finally gotten half the hecticness under control!)

However, despite my happiness at having found an assistant, I have begun to question the search process. To begin with, despite all the paperwork that had to be filled out, the question of whether she was allowed to work in the US was never asked until after the offer had been tendered. Now I am in the process of filling out visa paperwork because she was still a fairly strong candidate. Whether we can get it approved and in time remains to be seen.

There were also a couple other little things that have happened that have been nagging in the back of my mind about the process that has had me wondering if other elements should be altered. Nothing major, just a few little tweaks that we might be able to effect to provide us as interviewers with a clearer picture of the abilities of the person before us beyond how adept they might be at interviewing.

The way the director of human resources told us to frame our interview questions was as “what if” situations where we could assess the answers rather than as yes/no questions like–“Do you enjoy doing X” The answer may be no, but the person may be very good at doing it. They just truthfully don’t enjoy it. Ask a parent if they like changing diapers–then witness the love with which they do it.

What Andrew Taylor points out extends that a bit further–make them perform in the “What if” situation. The only weakness of this approach is that you can only use it in person. If you don’t have a lot of travel funds available for recruitment, it may be difficult to give all promising applicants an opportunity to strut their stuff.

Discussing Controversy

by:

Joe Patti

I found an article from the Rocky Mountain News noting that a local PBS station had chosen to air the controversial “Sugartime” episode of Postcards from Buster.

In case you have missed the hordes of articles and news stories on the subject, Buster is a cartoon rabbit who travels the country sending back reports as it were on different activities around the country. The episode in question depicted maple sugar making on Vermont farms headed by lesbians. Though there is apparently no mention or appearance of any sort of romantic relationship between the women, the Secretary of Education applied pressure to PBS to yank the episode. A number of stations have chosen to show it anyway.

What made this article so interesting to me was that one station on Channel 6 chose to show the episode at 11:30 at night so parents could judge whether to allow their children to see it. (There was an implication that it would air again at some point) However, PBS channel 12 (KBDI) which is apparently the other Denver PBS station chose to air it at 7 pm and follow it with a 90 call in panel discussion show.

Thinking that perhaps there was a lesson here for arts organizations to perhaps use controversy to move regularly scheduled talk back/Q&A sessions away from mundane questions like “how do you remember all your lines” to more gripping discussions, I visited KBDI’s website to see how the Feb. 9 experiment turned out. I figured being a PBS audience there might not be the explosive confrontations one would find on Jerry Springer and some good discussion might emerge.

There wasn’t any video footage to be viewed, but they did have a comments board. Most of the comments fall between Feb 9-11 (just so those of you visiting in a few months can get a sense of how far you may have to scroll down.)

The biggest lesson that one might derive from the feedback is that when hosting an opportunity for discussion about a controversial event so that you can convince people you don’t champion the causes of a perceived liberal elite — you should actually include people on the panel that represent both sides of the issue.

It is not entirely clear whether the host was berating people because of their views or if he was always like that and people who complained hadn’t watched the show before. It does seem like the views represented by the panel itself were decidefly one sided.

It is tough to be yelled at in ones own house to be sure. It seems to me that in an age where the public can change the channel to one that expresses the views of the niche to which one subscribes, there is an opportunity and perhaps duty placed upon live performance venues to provide a forum for intelligent discourse since their settings are not so easily escaped.

But–it needs to be well-balanced and moderated and I imagine that would be tough to do these days. When you see and hear people relentlessly berating each other on television because that holds the ratings, you think that is the way one engages in discussion about topics with which one disagrees.

I am sure our Founding Fathers were not as cordial in their dealings as we imagine them to have been. (Just think of how many must have muttered something about going Aaron Burr on someone’s butt) I imagine they might have held themselves to some level of civility though.

This could be a great service arts organizations provide to society. Live discussion doesn’t allow you the anonymity of the internet or a phone call in. Done with the proper respect and care, arts events could become a welcoming venue for people who don’t necessarily view themselves as arts intellectuals, but who crave balanced intelligent conversations about issues of the day.

Doesn’t this happen on college campuses one asks. Well, currently Ohio is considering a student bill of rights to ensure those with views that conflict with those of their professor aren’t intimidated into keeping quiet.

Besides, as much as tickets to arts events cost. It is still cheaper and more accessible to a wider portion of the population than paying for college credits.