Making ‘Em Want To Sing, One Seventh Grader At A Time

by:

Joe Patti

I spent the morning talking to 7th and 8th graders about careers in the arts. The assistant theatre manager (ATM) and I sort of tag-teamed the presentation which included slides on some of shows to help communicate the need for good skills in research, reading, writing, communication, collaboration, math, technology and dedication alongside the specific skills you need for each discipline. Since the ATM and I had different career paths that brought us to our current jobs, we talked a little bit about that while quizzing the students on their knowledge and involvement in the arts.

On the drive over today, I couldn’t help feeling I might be selling the students a flawed bill of goods. The radio was full of stories about proposals to liquidate the National Endowments and the bankruptcy of Borders bookstores. Against a backdrop of news that arts and literature were not valued in the country, are students going to believe that the arts have something to offer them? Now granted, many 7th and 8th graders don’t listen to NPR every morning, but the message is still out there, each story contributing to students’ general outlooks and attitudes.

The only bit of sunshine was a story about Portland, OR which discussed that people keep moving to Portland even though there aren’t enough jobs. What keeps drawing them there? The overall culture and atmosphere of the city, including a mention of the music scene. I knew I had heard this sentiment before so I did a Google search before sitting down to write and sure enough, I found stories from 2010, 2009 and even earlier where people talked about the lack of jobs, the cool vibe and the music scene. You can find plenty of blog entries on the subject as well. I was pleased to continually hear a story where the arts were mentioned as an attractive element of a city.

When I got to the school, we discovered we were assigned to choral room. That seemed like a good environment in which to talk about the performing arts. We spoke to the music teacher there and he told us because of the high stakes testing, they no longer had a drama program in the school. This was rather disappointing to us, of course. However, we also discovered that he has over 200 students auditioning for 65 slots in his choral classes. He said it used to be 100 students until American Idol first aired and he got a surge of interest. Then when Glee started airing, he got another surge. Now he has to turn away twice as many students as he can accept. The choral director actually used to teach band at the high school down the street from me, but moved when he started a family because he wasn’t getting home until 10:00 pm and then had to get back up at 5:00 to return to work.

Next door was the band room where the son of one of our college’s retired music professors teaches music. According to the principal, both the professor and his wife come in pretty much daily to help their son teach the class. If music gets cut in their school, (and the choral teacher is getting a masters in another subject area to hedge against that), not only will the school lose its music teachers, but the efforts of two parents as well. If the arts programs get cut from these schools, it won’t be because of lack of interest from students or lack of dedication from teachers.

This school does not serve zip codes where the education reflects the values of an affluent community either. This isn’t to suggest that the parents aren’t pushing their students to do well, merely that the school isn’t in a place where people automatically assume the students will excel and succeed based wholly on the neighborhood. I was pleased to see that the arts didn’t face an entirely uphill battle in relation to communicating the value of the arts in one’s life to their students. There were some good role models and practices in front of the students.

Americans for the Arts has set up an easy way for you to write your representatives in Congress about continuing to fund the NEA and arts education. I like the format because it is much more flexible about allowing you to mix your own thoughts with pre-written text than most email campaigns allow. I have had it bookmarked for a couple days because I didn’t really want to go with a lot of the pre-generated text, but hadn’t quite thought of a way to make what I had to say personal for my representatives. Thinking about what I saw today, I think I finally have something that will create the connection I want them to make.

Star of Your Yearbook

by:

Joe Patti

I was reading on Fast Company about a company, TreeRing that makes custom yearbooks for people. Ninety percent of the yearbook is the same as the one everyone else in your school gets, but the other 10% you can customize with your own material. As the story notes, most of the time only seniors get more than just a head shot in the year book and this allows underclassmen the opportunity to add their own pictures to remember their school experience for that particular year.

It got me to thinking that this sort of service might be of value for recognizing donors in program books. There would be a common recognition in all the program books, but an organization could have some custom printed for a donor or a company that had provided support with a specific letter of thanks to them plus a listing of all the benefits they will receive in return for their support. It would likely be too costly to do for every show, but for a season opening event or a fund raiser, an organization might get them printed up.

Something similar might be done in the program books of the average attendee. Again, the cost would probably be prohibitive for most arts organizations and people would probably prefer to receive enhanced material through their mobile devices rather than in print. But, if one was planning to see an opera at a high end venue like the Metropolitan Opera and they were going to keep the program as a remembrance of the occasion, they might order up a program book customized with information they may need to understand the show and their first encounter with opera. It would definitely be a boutique service and the printing and delivery would have to be accomplished on a just-in-time basis, but it could have an appeal.

Info You Can Use: Helping Your Publicist Help You

by:

Joe Patti

Last week Ciara Pressler had an entry on Fractured Atlas with tips about increasing your chances of getting press coverage. Her number one tip struck a chord with me.

The #1 way to maximize your chances for coverage? Trust your press reps to do their job. The time to hash out goals, strategy, and timeline is at the beginning of the promotional period, not on Draft 7 of the press release or in the middle of the night on email a week before opening.

The collaborative nature of the arts can work for us, but at times, against us. A creative environment inspires us to have ideas about more than just our own role, and some of the best results come from the synergy of a group. But the bottom line is that we all have a specific job to do,…

I have been in a position where others, whether they were actually in a position to direct my activities or not, micromanaged promotional efforts. Glad to have put those days long behind me. Now I get to micromanage and make people miserable! Seriously though, regardless of my position, I like to have a general plan in place well before an event is upon me and not make any major alterations. I am sure that is true for most people. You don’t want to be in a situation where you have to invest a large number of resources, be it financial or your own brain power and physical energy, to accommodate a drastic change of direction.

Some brief excerpts of other tips that I particularly liked:

Respond quickly.
As in minutes, not hours, and never days. Landing a placement can literally be a matter of being first to respond. …

[…}
Be brief & buzzy.

When a reporter asks you a question, whether by email, phone, or in person, it is not a cue to launch into your 20-minute (or even 5-minute) philosophy of the state of the arts in America….

Know what you’re there to promote.

If you’re being interviewed, stay focused on the topic of the article or segment….

Let the photographer do her job too.

It’s the publicist’s job to know which photos will work for a particular publication…

[One of my particular pet peeves. I have waged constant battles with people who are fine directing a show, but awful at getting people to look natural in a photo shoot and won’t cede control. -Joe]

Understand that media is a business.

A reporter is subject to an editor is subject to an editorial calendar is subject to the publication as a whole is subject to advertisers. If there are four major shows opening in a given weekend, there may not be room for a review of a new company’s first production. If an outlet’s primary audience is musical theatre lovers, they will likely pass on covering a Shakespeare play. Especially in the age of search engines, priority will be given to topics that will draw the most – or most desirable – audience to a publication.

I didn’t edit down this last one because this sort of response is common to those outside an arts organization as well as within. I got a call last week from a person telling me it wasn’t very helpful that they learn about the show from a feature story in the weekend entertainment section of the paper on the same day as the event. We had the event on websites, including those focused toward local families, newspaper and radio spots and had been listed in calendar sections repeatedly for a couple weeks. (Not to mention the brochure and email blasts we had been sending.) Fortunately, people who had been purchasing tickets identified each of those places as a source of information or I might despair at having paid for all that advertising. I explained to him that I had no control over what the newspaper printed and when. I noted that papers usually waited to print a story with big headlines and eye catching images until a time when the information was immediate and relevant because that is what people valued. I added that we were very pleased that they had chosen to cover our event amid all the rest of the things going on.

You Have Just Walked In To A Random Act of Culture

by:

Joe Patti

Well, Opera Company of Philadelphia is at it again. Back in June I did an entry on their flash mob performance of La Traviata at Reading Terminal Marketplace. In January, they were back in Reading Terminal Marketplace with a flash mob performance of “Toreador” However, this time it was under the auspices of the Knight Foundation’s Random Acts of Culture program according to a New York Times piece. The program is centered mostly in those communities with a Knight Foundation presence, but they are looking to expand after using these communities as pilot programs. The website has video from other communities and includes opera, dance, brass and string performances in public gathering places.

“Everything we do revolves around the idea of weaving the arts into the fabric of the community,” said Dennis Scholl, the arts program’s director, who aims to produce 1,000 Random Acts by the end of 2013. “Our hypothesis is that people care about the arts, and if you analyze where they are and bring art to them, they will be passionate about it.”

One of the things I like about the Knight Foundation effort, other than the basic fact that they are supporting and promoting arts organizations, is that the program is pulling many groups together to work collaboratively. Opera Company of Philadelphia organized another event to perform Handel’s “Hallelujah” chorus at a Macy’s that involved 650 people. According to the Times article this meant the inclusion of “…28 groups — ‘everything from the Presbyterian church choir to the Gay Men’s Chorus,…’ ” If they can work together on this project, perhaps whatever conditions separate their organizations can be diminished or removed for future partnerships. I am not equating the abilities of church choirs with opera singers, I am just suggesting there might be other situations where they can generate more excitement together.

As I was thinking about this program as a possible template for connecting the arts with audiences, some questions occurred to me. If malls are viewed as appropriate places for performances, what is the fate of our acoustically refined performance halls? Will people recognize their experience in the food court is far from the ideal? Will they care?

If people can see a high quality performance for free, not realizing it took $30,000 to put the Macy’s performance together, will people balk at paying $50+ for a ticket because it seems so far out of proportion? They got 650 people at Macy’s for free, after all.

The Times article mentions that when the Opera Company of Philadelphia did their flashmob La Traviata last year, there was a groundswell of support that followed and hopefully such benefits might follow those that participate in the Random Acts of Cultural Program. It might be good though to also take the opportunity to educate people about what was invested to make it all happen. A little hand out that says, “We are glad you enjoyed this so much. This was a fantastic experience for us too, involving 650 people from 28 groups, 500 rehearsal hours and $30,000 generously supported by the Knight Foundation that allowed us to provide this 10 minutes random act of culture for free. If you thought we were great here, please consider coming to see us at our best when we perform throughout the year at Lovely Venue.”