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Turning Waves Of Crisis Into Minor Ripples

March 1, 2010

by:

Joe Patti

You ever tried to get a large group of performers to the airport to catch their flight in the face of an impending tsunami?

Well, I have.

It is actually not as bad as you might think. Given the alternatives of a hurricane, earthquake or volcanic eruption, with the opportunity that either of the latter two will spawn a tsunami about which you will get at most 15 minutes warning, a half day’s notice is a luxury. Which is what I told the performer who remarked how calm I was in the face of it all.

It helped that the departure and arrival airports were both still open and the streets between the hotel and airport were virtually abandoned. Really the only complication we had was discovering the rental car return was directly under the civil defense siren when it blared its hourly warning.

I know I have mentioned it before, but one of the key characteristics of good management is staying cool in the face of adversity. This is especially valuable in the performing arts where you are not just providing a good example for your employees, but also creating a calm environment for artists to perform in. One of the principles a former supervisor ingrained in me was to try to make a traveling artist as comfortable as possible. His philosophy was that while our facility wasn’t home, we might be stop 15 in a 25 city tour and could contribute to getting the best performance of the person by reducing as much anxiety possible and providing the most hospitality we could.

Easy to say, tough to do though.

By the time I started working there, I already pretty much understood this to be the case. However, there was a time I wasn’t as empathetic. Between growing up in an environment that emphasized self-sufficiency and working in a few environments that were not terribly sympathetic to the needs of the regular employees, much less the performers, there was an incident I am somewhat embarrassed about that sticks out in my memory.

I was working for an organization that actually was very sympathetic and attentive to the needs of everyone working for them. You were expected to work hard, but an effort was made to find some equitable time off in return. Not being used to this, I was needlessly always waiting for the other shoe to drop and was prepared to defend myself when it came.

Not a very good outlook to have when one’s duties include company management. One of the actors twisted her ankle so I drove her to the doctor. It turned out she needed to go back for a follow up at some point and wanted me to drive her again. At the time, we were very busy and I told her I didn’t that we could drive her again later in the day.

This may sound innocuous to read and it really wasn’t a terrible or nasty thing to say. After all this build up, you may have been expecting something a little more horrific.

However… What I was thinking wasn’t so nice. I pretty much figured she was being a prima donna and like most actors was over dramatizing the whole situation into something just short of requiring amputation. I thought she needed to calm down and take a reality check. My job would have been so much easier if I didn’t have to deal with the actors.

Of course, I was talking as if I was being terribly set upon in the first place so I guess there was a little acting going on both sides. She proved to be the better actor because I got in trouble for my performance when she went to the managing director.

What I later realized I failed to understand was how distressing it is for performers to have any part of their instrument damaged. If you are not fully able to provide what you were hired to do for any significant length of time, you face the prospect of your career coming to an end. We hear about performers insuring the body parts which provide their iconic status and wonder at it all. But I would bet more people would do it if it were financially viable. This woman was at the point in her life when she wasn’t healing as quickly as she once did and this injury was likely a reminder of the precarious position she inhabited.

So now I work to anticipate any potential sources of anxiety and approach similar situations a little more seriously. Which is not to say I still don’t occasionally inwardly roll my eyes at some of the situations I run into. But as with many things, forewarned is forearmed, making real crises easier to handle.

Though it is also gratifying not to have the crisis be as great as predicted.

Management Philosophy

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Who Will Fight For It?

February 25, 2010

by:

Joe Patti

Well my post on Tuesday on the changes in wireless microphone rules garnered the most hits in one day that I have ever received. I am actually not sure exactly where all the visitors heard about the entry. The old tracking software isn’t giving me the detailed clues I thought it would. Anyhow, if you are a returning visitor, no matter why or what the source, welcome.

Earlier this month, the Clyde Fitch report linked to my entry on the continued marginalization of arts education in the class room asking, “but who will fight for it?”

That question has been echoing in my mind for the two weeks since. The reverberations reinforced by incidents like this story highlighted by Richard Kessler over at Dewey21C on the practice of schools dropping certified arts teachers in favor of outsourcing the task to actors. Don’t get me wrong, I am all for actors getting paid to ply their craft. There is just no mystery about the long term implications of accepting ever decreasing arts exposure and experiences in education.

The other situation that has kept the question of who will fight for arts education going through my mind is that my state now has the fewest instructional days in the country due to budget cuts that furlough teachers 17 days out of the year. Last week we had 200+ students drop out of a free performance at the last minute because the furlough days had put them so far behind, they couldn’t afford the time for a field trip. For most of these students there wasn’t even the factor of having to pay for a bus because the school is so close, it regularly uses our parking lot as an assembly point for disaster drills.

Over the next month or so, the instructor of a music class for those studying to teach K-12 is going to be on our stage getting the students up and moving putting together a project. I was standing in the wings today brimming with pride for the instructor who is doing a fantastic job on this first day of getting the students to move. The thing he has them working on combines history and literature with dance and music–and that is what I saw in just this first day. There could be a lot more wrapped up in this thing before they are done.

But as I stood there thinking I have to tell the instructor’s divisional dean that they need to get him in a tenure track position and never let him go, another part of me is wondering if there is any use in having all these students work so hard if there is an ever narrowing chance of putting what they are learning into practice.

Of course, there are many schools bucking this trend and they aren’t all in the higher tax base districts. I recently nominated a local school arts program for recognition for fighting the good fight using the arts to give students an outlet for the problems they face.

I don’t want to position the arts as prescriptive only, but the truth is in the aftermath of the earthquake, a lot of Haitians came together in song. The arts are the basic factors which tie us together. So when arts teachers and artists are derided for being paid to teach and produce what is fun, it is because music does soothe the savage beast. Arts and cultural experiences answer fundamental needs.

I think people may confuse the primal emotional satisfaction they experience with the fulfillment of need they gain from disposable products. Plastic forks and paper plates allow you to continue enjoying a picnic or party rather than spending the time dealing with dirty dishes while everyone else has fun. Hearing a song/seeing a show/looking at a painting quickly puts you at ease and because you can’t identify exactly why, you equate it with the same feeling you get using disposable conveniences.

It wasn’t really until this moment that I begin to understand why people like Scott Walters often bring up the idea of slow food in relation to the arts. Just as fast food can create a disconnect and lack of appreciation for what is really invested in a well prepared meal, so too can being removed from the methods of arts production. It isn’t just a matter of lack of exposure means people don’t have an opportunity to enjoy and understand the arts, it is also a matter of not being cognizant of what has been invested in its creation.

Familiarity breeds contempt. At one time high wire circus acts were the main attraction. But as people became more familiar with the experience, there became a greater need to up the ante for the act to hold peoples’ interest. It wasn’t enough to just walk across forward and backward with and without a net. But have you ever tried to walk a rope suspended only a couple feet off the ground? I tell you, you gain a new respect for even the simple stuff.

I am not saying anything new here, of course. Studies have shown that people who have hands on creative experiences are more likely to participate in the arts later on in life.

Who will fight for the arts? Well, we all have to, even if it is in small increments every day. Certainly, the big crusaders need to be there too, but they can’t be seeking success in spite of the inaction of everyone else. If you succumb to the despair of the direction of things and give up creating opportunities to learn and experience, then there will be no one trained to teach art when someone comes looking.

Art(ist) Education, Arts in an Age of Technology

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Info You Can Use: Will You Have To Get Rid Of Your Wireless Mics?

February 23, 2010

by:

Joe Patti

You may or may not be aware that after June 12, 2010, you will no longer be able to use wireless microphones that operate in the 700 MHz range. Arts Presenters has been following this issue very closely and has put together a good resource page on the subject. The page contains information on the ruling and has a link to help you figure out if your wireless mics operate in that range. If they don’t, you can keep using them. Some microphones can be re-tuned to operate outside that range which may also be good news.

I say may because APAP also hosted a conference call on the subject. The transcript may be found here. According to one of the speakers, Matthew Nodine, chief of staff for the FCC wireless bureau, the FCC has made room in the UHF band for all those displaced by this ruling. The question is whether you can stay there or will have to move again. From my reading the experts answering the questions don’t give any concrete assurances that wireless microphones can operate in that area over the long term. They even mention there are a number of other interests who wish to operate in the same area of the white space on an unlicensed basis.

“You have competing interest in the white spaces proceeding which has to be resolved for the commission to decide exactly what rule is going forward that should apply to wireless microphones, should apply to other users, should apply to the licensees and the other licensees in the band.”

There seems to be potential for being bumped from where you are operating at a later time if the FCC decides that space should be used for WiFi or cell phone internet operations. (Just as an example. I have no idea if operating in this span of bandwidth is viable for these functions.)

On a more positive note, it sounds like theatres could actually secure some frequencies by becoming licensed to use them. (my emphasis)

“The FCC is basically setting up a licensing opportunity as one of the possible destinations for operations on a permanent basis in the TV core spectrum. The value of licensing as you may have guessed is that you have enhanced interference protection as against white space devices. You are permitted, and I will just leave it there. You also have interference protections as against all unlicensed operations. You have flexibility to conduct two-way wireless mic related operations. Queuing is permitted for licensed operations for production personnel. It also permits certain types of uses of wireless devices to key stage hands, so sort of backstage uses which are related to performance. All are encompassed under the authority which licensed operators to which they are entitled.”

If you do employ a lot of two way communications, getting licensed may be a necessity. (again, my emphasis)

On the unlicensed side, if you chose not to be licensed, it seems like first of all the only sort of interference protection that you would enjoy would be to operate on certain set aside channels in the TV core where white space devices are not allowed to operate. I think this is a proposal in the commission’s order, but it says that such operations will be limited to 50 millowatts, 5-0 millowatts max power and would probably be limited to one-way only operations. …. it seems as if the queuing and the backstage kind of radio access, the two-way capabilities are very much a part of the performance experience and part of the production values which have been built into certainly into any sort of serious professional production. It looks to us for this particular community of users, that licensed use has a lot of the characteristics which really are the bedrock of any sort of quality performance.

What happens if you keep operating your 700 MHz devices after June 12, 2010? According to FCC wireless chief of staff Nodine,

“There are penalties that are going to be associated with wireless microphone system user who is using their wireless microphone system in the 700 megahertz range after June 12th. We don’t know – we can comment on what we believe those are going to be. And that’s probably going to be a, a fairly wide range of both civil and potentially criminal penalties. And it will be looked at on a case by case basis.”

Arts in an Age of Technology, Info You Can Use

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Carl Sagan Sings About The Universe

February 22, 2010

by:

Joe Patti

Hat tip to Artsjournal.com which had the video below as the video of the day last week. I normally don’t watch the videos there but something inspired me to and I am glad it did.

The video is a remix of Carl Sagan from the Cosmos television series with a little Stephen Hawking from the series Stephen Hawking’s Universe. The remix is an effort by Symphony of Science which creator John Boswell says “is to bring scientific knowledge and philosophy to the masses, in a novel way, through the medium of music. Science and music are two passions of mine that I aim to combine in a way that is intended to bring a meaningful message to listeners, while simultaneously providing an enjoyable musical experience.”

Right now there are four videos on the site. As is the case with so many musical groups, my favorite so far is their “early work;” their first video seen above. Symphony of Science remixes the footage from Cosmos and other science shows using auto-tune to make the speakers “sing.”

Given my recent post about interdisciplinary use of arts in education, I was pleased to see an example of someone doing just that. While the videos weren’t designed for classroom use, they could easily be used as part of instruction. The videos also reminded me of the TED video featuring Mallika Sarabhai I wrote about last month. Specifically about the quote so many people seemed to love – “You have treated the arts as the cherry on the cake. It needs to be the yeast.” I seemed to me that video editing and music helped an thirty year old science series bloom a little.

I had other concerns on my mind than watching a science show back in 1980. I never realized just how beautiful the imagery was that Sagan conjured during the series both visually and descriptively in the narration. It belies the common notion of science being dry and sterile and Symphony of Science gives it another interesting twist. I see that all 13 episodes are available on Hulu. I may have to take a look at them.

Arts in an Age of Technology, General Musings

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