Take A Rare Opportunity To Review Others’ Reflections

by:

Joe Patti

Back in August I called attention to a transmedia project in Reading, PA, “This Is Reading,” that playwright Lynn Nottage and a host of others worked on creating to help the community tell stories about itself.

I had initially learned about the project via a post by Margy Waller and must credit her again for tweeting about a follow up conversation that occurred.

With such a push for placemaking and community building projects like “This Is Reading,” having access to the reflections of project participants is of great value to others engaging in similar work.  There are a number of observations and lessons learned that can provide guidance about what worked and what needed to be done better.  It is rare to have this type of material shared publicly so take advantage of the opportunity.

Not only does the newspaper article provide a summary of the report, the report itself is embedded in the webpage and is available for download.

The first thing that caught my eye was that the meetings from which the feedback was collected appeared to be driven by the participants’ desire to continue the momentum started by the project.  The impression I got from the article was that a post-mortem conversation hadn’t been planned, but the project leadership were wise enough to recognize the need to do so.

“The reason we wanted to do this meeting is because this was a more than five-year process,” he said of the installation. “A lot of the volunteers and a lot of the participants expressed interest in what’s next. To me, it was ‘Let’s debrief, let’s talk about it.’ “

The fact of Reading’s decline plays a large part in the content of the project and the subsequent feedback. (Recall the railroad was famous enough to be included in the Monopoly game.) There are multiple times in the report that the investment young people have in the community is called into question. This is in tension with the perception that the nostalgic project content had a greater resonance with older attendees than younger.

The article mentions that the phrase “Reading was…” kept coming up in conversations during the development phase of the project so the title “This Is Reading” was an attempt to emphasize the need to break from a focus on the past and dated thinking.

Given that this exactly mirrors the conversation occurring in the arts (perception youth are not committed, content only relevant to older generation) there are any number of lessons here for the arts and culture community.

Here is the summary listed in the newspaper article:

• Being a person of color in Reading is wrought with stress, tension and discomfort.
• Reading can be a vibrant center of arts and culture if there are significant outreach efforts to invite and welcome; the art is interesting to people of different ethnic, racial or economic backgrounds; and obstacles that prevent or deter participation are eliminated.
• Its self-perception impedes the city’s ability to move forward.
• There is a strong interest and desire in the resurrection of a rail system that would connect our community with nearby communities.
• Long-held community “stories” or narratives can be rewritten by the arts in public spaces.
• There is a desperate need for a shared downtown public performance arts space.
• The city needs a vision that focuses on what Reading is and can be, not what it was.
• Youth and young adults in Reading need to be encouraged, developed and engaged.
• Leadership is needed to champion efforts to build on “This Is Reading,” and the most effective champion would be the city.

An Authentic Experience Is A Branded Experience

by:

Joe Patti

When people are surveyed about what they want out of an interaction with the arts, among the top answers are authentic experience and an opportunity to share that experience with family and friends.

Within the last two days I saw two articles that address how many companies are addressing this expectation among consumers.

The first was a story on Slate about how Apple’s Genius bars were developed to answer this emerging desire.

…stores and malls are looking to adopt the holistic, experiential attitude toward retail space that Apple helped pioneer, one that lures customers out of the house with an idea of service that goes far beyond sales. Sephora will put on your makeup. Sur la Table will teach you how to cook. After last week’s TaskRabbit acquisition, it looks like Ikea is about to start assembling your furniture.

[….]

…Apple retail head Angela Ahrendts unveiled at the company’s keynote last month in Cupertino, California. “We actually don’t call them stores anymore,” she said. “We call them town squares.” As a metaphor for the tech industry’s appropriation of the public sphere, it seemed a bit on the nose. But it’s a fitting culmination of Johnson’s initial strategy to cloak the exchange of cash in civitas.

If you think recasting an Apple Store as a town square is a cynical corporate attempt to cultivate a relationship with consumers, you may not like reading a piece that appeared today on CityLab that talks about corporate attempts to create a “branded experience.” In the context of the Slate story, Apple either pioneered the idea or was on the leading edge of an emerging trend.

The story primarily talks about branded environments in NYC so the demand for such experiences may not translate to other communities. Though I would suspect the differences are only a matter of time and degree.

I was interested to read the following which makes an argument for why in-person interactions in physical spaces remain important even if they aren’t as convenient.

The current conventional wisdom on retail holds that digital sales cannot reach far enough on their own to build sustainable customer bases, so digital-first brands have migrated toward physical stores, pop-up shops, and other experiential marketing strategies.

[…]

The new branded space doesn’t merely satisfy a customer preference for finding products IRL. It opens up a new inflection in retail’s historical role as a venue for urban sociality, spectacle, and leisure.

So while brands strive to enable people to represent their own personal brand, the ubiquity of images of other people’s similarly “authentic” experiences creates a growing sense of dissatisfaction with one’s own. In other words, back before social media expanded our awareness, ignorance was bliss.

What happens when everyone is hunting for unique markers of personality and taste while simultaneously emulating widely popular and algorithmically curated patterns of behavior?

Consumers craving “authentic” experiences tend to build their digital personas by recycling the same kinds of content that populate their own feeds. Especially on Instagram, photos of under-the-radar coffee shops, building interiors, and artful design objects begin to look utterly banal as they aggregate by the thousand. The real world, without any impetus other than the encouragement of the market, has conformed to these aesthetic standards in response.

As they (actually, Alfred Korzybski) say, the map is not the territory. The experience is the experience, not the picture of the experience.

Perhaps one of the challenges arts and cultural organizations will face is that after pouring a lot of thought and energy into wholly revamping the experience they provide, people may still be dissatisfied due to what they value.

But that isn’t new. There has never not been a misalignment between an experience and what is valued by those present. Not everything we do is for everyone. You don’t have to stand for an ovation at the end of the show and clap as hard as the next person.

If you read the CityLab article and shudder at the prospect of having to compete with the expectations created by a Cadillac showroom/lifestyle space  that bills itself as “Public Meeting Place Where Innovators, Creators and the Curious Can Find Inspiration–and one another,” yeah that is simultaneously intimidating and perplexing.

Chances are, that showroom concept isn’t going to be exist outside of NY, LA and Chicago. You know your community and the opportunities that exist to shape experience expectations. It is good to be aware that influences like Cadillac House are likely to seep into your community and influence expectations so stay aware and consider your response.

Intersection of Sports and Art Has Occur For More Than Just One Guy

by:

Joe Patti

Last week this tweet from Howard Sherman caught my eye.

If you read the article, you can really see his point. Except for the fact that the musical Daryl Morey is putting together is about basketball, there is really nothing sports related in the article.

Morey talks about how much he loves theater, the conversations he had that pulled the creative team together, the process of putting the production together–all things that you would expect to see discussed in the arts section.

Except, you know, the NY Times has cut back on its arts coverage, especially outside of NYC. (The show is opening in Houston with hopes of moving to Broadway.)

I don’t know if that is the reason it appears in the sports section. Given that Morey was the general manager of the Houston Rockets, he would likely have a better relationship with the sports staff than arts staff. The former would be more likely to get a better interview out of him.

If I am being optimistic, I also see the article as a good example of how a love of sports and arts are not mutually exclusive. If you are looking for someone with some gravitas in the sports world to make a case for theater, Morey is your man.

The musical, called “Small Ball,” which is now bound for rehearsals and a six-week run in Houston, bridges two of Morey’s great loves: basketball and Broadway…Morey — former high school trombonist, current theater obsessive — has relished the chance to sneak behind the curtain.

“Someday,” Morey said, “I want to live in New York and just go to shows.”

and later

Morey was a band geek at Highland High School in Medina, Ohio. After performing excerpts from “Les Misérables,” he was hooked. He recalled coming across a rare cassette recording of “Joseph and the Amazing Technicolor Dreamcoat,” a thrill for a young fan of the composer Andrew Lloyd Webber.

Today, Morey’s appreciation for Stephen Sondheim runs so deep that he recently paid an artist to re-create “A Sunday Afternoon on the Island of La Grande Jatte,” the seminal work by the painter Georges Seurat that became the same work upon which Sondheim based his musical, “Sunday in the Park with George.”

When asked on social media what he would be doing if he wasn’t in basketball, he answered he would probably be doing theater. Still even he admits there isn’t a big intersection between people who love basketball and theater.

Perhaps the most encouraging lines in the whole article are the last ones.

Still, Morey said he came away feeling energized. He also gained an appreciation for the talent of the actors and for his theater colleagues’ managerial skills.

“Let’s keep it vague,” Morey said, “but I’m like, ‘Geez, they deal with more stuff than I do.’”

If you are thinking, boy we could use 100 more like him, the truth is they are out there. Many of them are already participating in our events and serving on our boards. Maybe they don’t feel like they have the ability to clearly express the passion they feel and need some guidance to do so.

If they are talking about their passion, it might be in front of like minded people at gala fundraisers or chamber of commerce meetings. Perhaps it ends with “that is why I encourage you to give….” which might turn people off. That ain’t all the arts are about despite what the job descriptions of arts executive directors say. It might even be better if these conversations are encouraged at a bar stool or supermarket…or basketball game.

Hey Buddy, You Want To Share A Creative Experience?

by:

Joe Patti

Back in August I presented material in a pre-conference session at the Arts Midwest (AMW) conference alongside AMW President/CEO David Fraher; Creating Connection Program Director Anne Romens; and my friend Nick Sherman. (Slides on the AMW site, scroll down to “Messages that Matter: Tapping into What Audiences Value + Creating Connection: What Does Your Community Value?”).

For my part of the presentation, I spoke about some of the programs we had instituted in our community based on materials from Creating Connection, or as I often refer to it, Building Public Will For Arts and Culture.

One program I hadn’t talked about was our Arts Buddy program which we developed to respond to the problem of having no one to attend an event with which is often cited as a major impediment to event attendance. Long time readers will remember I started developing the idea back in 2015 after being inspired by a program instituted by a Brazilian bus company.

Anne Romens wanted to know more about the program so they could discuss it in workshops they were conducting in September. We ended up turning our discussion into an interview which Anne posted on the Creating Connection blog last week.

Anne told me she presented the idea at 5 workshops in September and people loved the idea. They pulled out their pens and started scribbling. One person apparently asked if I had legal rights to the idea or if she could use it.

I had I known it would be so popular I would have patented it and started a licensing program!

(The idea was developed with feedback from a number of people both through my blog and emails so neither I, nor anyone else should be looking to patent it.)

You will have to read the interview to see what all the excitement was about.