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Do U.S. Arts Suffer From A Lack of Working Class Voices?

October 28, 2013

by:

Joe Patti

Earlier this month, The Independent asked “Are drama schools just for the middle classes?” The question lead a story about a youth program in England that seeks to provide training regardless of social class. The article cites:

“The domination of public school accents on stage and screen was already raising concerns about a thinning of the acting profession’s social spectrum…”

and later

“Dominic Dromgoole, the artistic director of Shakespeare’s Globe, describes the lack of working-class children in the industry as a “real worry”, arguing that English theatre’s portrayal of the proletariat is what makes it distinct from its French and German counterparts.”

I tried to think about whether there is a similar concern in the U.S. about a lack of representation from all social strata in the arts.

There is an ongoing conversation that all children be exposed to the arts and be taught creative expression in school. While affluent communities are no guarantee of arts education in schools, there is a better chance of experiencing the arts in an affluent school district.

There has been concern expressed that only those with means of support are able to participate in a career enhancing internship experience. Certainly, living in certain cities provides more opportunities for employment and ability to contend with the higher cost of living may be a function of social class.

What I haven’t seen a lot of discussion about is whether there are enough actors, dancers, musicians and visual artists emerging from an appropriate cross-section of social strata. I am not sure if it is a problem, much less if anyone feels the situation is a detriment to our cultural landscape.

My first inclination is to think that the environment in the U.S. is inadvertently democratic. It is so difficult to be able to support yourself as an artist, those privileged with an extensive arts education may not enjoy a significant advantage in becoming employed in their area of study over someone with less training. As a result, few people mutter about opportunities lost to someone with a prep school education.

Is this something to examine and be concerned about? When we talk about programming not connecting with today’s audiences, could it be a result of training too many artists who come from the same narrow social strata as the audiences?

Or are people from a good cross section of society being trained and the problem is, as we often say, that those with the money have had the greatest influence on what new artists are being taught to perform?

Art(ist) Education, General Musings, Working In The Arts

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Stuff To Ponder: Bring Back The Claques

October 23, 2013

by:

Joe Patti

A few months back, Gizmodo posted a video by VSauce on the subject of clapping as a form of expression.

At about the five minute point in the VSauce video, they talk about how in the early 19th century people hired themselves out as professional “claques.” They would learn operas and then applaud and laugh at the correct places as a way to prompt the rest of the audience. Today, television shows have signs that prompt people when to respond.

I was interested to learn that while babies will naturally learn to clap, parents are encouraged to teach their children to connect clapping to an enjoyable event. Even though we might unconsciously start clapping when we see something we like, we have been socialized to do it rather than it being a natural reaction.

The big question that came to mind was, why are people so intimidated by not knowing when to clap during a symphony? Since it is a socialized practice, they can just wait until everyone else starts, right?

The place that really trips people up is the pause between movements. For a few moments, I wondered if society had betrayed classical music by creating an expectation that you start clapping immediately at the end of a piece.

Perhaps earlier audiences had more patience and let things simmer a moment before clapping and that had evolved to an ever shorter period of time?

But there was a New Yorker piece pictured in the VSauce video by Joseph Wechsberg who was a member of a claque during the mid-1920s in Vienna. He talks about how hard it was to be part of the claque for operas like Carmen because the audience was likely to break into “wild applause” at the incorrect moments and it was the job of the claque to influence the audience “into orderly channels.”

Clearly, people were no less apt to clap at the wrong times nearly 100 years ago. According to Wechsberg, even young boys followed opera and thought wild clapping was heresy so I am sure there were a lot more venomous stares being delivered in concert halls then versus now.

Individual singers would pay to have people clap for them, but it basically was just enough to cover tickets to the show so the claques were essentially just doing it for free tickets.

With that in mind, I wondered if there was any value in reviving the practice of giving people comp tickets in return for their leadership in applause? Or perhaps more constructively, to act as mentors for new attendees?

With email and social media, people with the knowledge claques possessed could be used to much greater effect than a dependable source of applause.

Since Joseph Wechsberg’s description of his claque was basically that of poor artists and students, having them act as guides in return for tickets might be an interesting and productive arrangement.

Audience Relations, Info You Can Use, New Initiatives, Volunteers

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The Kids Are All Right

October 22, 2013

by:

Joe Patti

I am currently attending the Ohio Arts Presenters Network conference so I don’t have the time to write a lengthy post tonight.

However, one thing that impressed me (other than the fact they do the best job of feeding the attendees than any other conference I have attended). I have been to a number of conferences where the artists’ showcases were either only attended by conference attendees and showcases that admitted a public audience as well as the conference attendees.

This morning however, the conference scheduled all the youth/school performers back to back in a single block and then invited about 100 or so school kids to attend. The theatre director explained to the kids that they were going to see a new performer every 12 minutes and that their reaction would help people decide what performers were really good.

One of the agents commented how smart a move this was because these artists needed an audience of kids. Many of their high energy frantic performances would likely fall flat on an entirely all adult audience.

I will admit, the kids’ presence was helpful and from the comments we overheard while left, their evaluation about which performer was the best matched that of most of the agents and presenters I spoke with throughout the day.

With a lot of family shows, you have to ultimately convince the parents or teachers that the show is worth seeing because they control the money and transportation. However, the kids have both the power to influence the parents, and in this case, performing arts presenters, that something is worth seeing.

Audience Relations, Working In The Arts

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Go To Conferences For The Coffee Breaks

October 21, 2013

by:

Joe Patti

Last week Kacy O’Brien discussed an alternative model for conferences on HowlRound. She describes the Open Space Technology conference model as the coffee break segment of a conference, except that it occurs all day. The coffee break being the part of a conference where all the valuable connections and discussions occur.

O’Brien confesses her initial skepticism:

“Now, I’m a concrete, practical kind of person, so when I learned that an Open Space Technology conference means there are no speakers, there is no agenda, that breakout sessions are determined by participants the day of the conference, I laughed a derisive little laugh and said, “There is no way this will ever work.”

And talks about the guiding principles of Open Space Technology

There are a few guiding open space principles:

The people who are there that day are the right people to be there. Subtext: You’ve made the time to be here so you’re passionate about this.

The rule of two feet: If you are no longer getting anything out of a breakout session or no longer contributing to the discussion, get up and walk away—move on to something else. Subtext: Only the most engaged people will be participating in a conversation at any given time.

Whenever something happens is the right time for it to happen. Subtext: An idea will succeed only when there is enough energy, time and passion behind it—don’t force it.

Ultimately, she seems impressed by the format and is happy to admit she was wrong about it being a viable method.

She mentions that she decided to lead a session and was prepared to heed “The rule of two feet” when it appeared no one was going to show up. But a few more people did join her break out and within a short time she had four action items she would have never devised on her own and the names of interested parties who could advise her, if not provide direct assistance with her project.

I was intrigued and excited by Kacy O’Brien’s description because she was describing the type of conference I would be interested in attending. But, to my chagrin, I am preparing my first session for a national conference and so it is sort of in my interest to have a more formalized structure.

Though to be honest, I wouldn’t be opposed to the model O’Brien describes. There really isn’t any difference in the end results of having an empty break out session regardless of what model the conference is using.

However, in the case of the session I proposed, there are two people participating as speakers who would not otherwise been attending the conference. I am not so proud that I can’t admit that their contribution could possibly be more valuable than my own. It is not likely I could have organized as high quality a session on the fly with those in attendance at the conference.

It also struck me that it would be problematic to use this model at a large national conference due to the difficulty of communicating the topic and location of all the break outs. While the information could be disseminated on social media, not everyone has the tools to receive that information equally. There is already a certain level of stratification among arts organizations and this could result in a further increase.

Though anyone who has participated in a successful Open Space conference involving thousands of attendees, please share your insights. I wouldn’t doubt that it could be done with proper preparation, I am just not able to imagine how to satisfactorily perform all the operational details.

Arts in an Age of Technology, New Initiatives

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