A Conferencing We Go

by:

Joe Patti

I am off at the Association of Performing Arts Presenters conference in NYC today. So as I am wont to do, I am reaching back to my archives for my post today.

I thought it was appropriate to share my reflections on Peter Drucker’s “Managing Oneself” since I was first introduced to the piece 7 years ago at the Emerging Leadership Institute at the APAP conference.

I still carry the article around with me to remind me of many of the points Drucker makes about how to understand what you need to function and thereby provide the same service to those with whom you work.

Stuff To Ponder: What Is The Definition of Emergency?

by:

Joe Patti

This last week I have gotten some real lessons in the importance of disaster planning.

During the quiet of the holidays I started a conversation with some colleagues about how we would handle inclement weather on performance days. Everyone keeps telling me how they try to shy away from scheduling shows in January because the weather is so bad. With that in mind, I wanted to have a plan for how we would proceed before the need arose.

Since we present a number of touring shows, we would be in a position of needing to pay artists per our contract unless the weather is so bad a state of emergency is declared. In that case, we would issue refunds to the ticket buyers.

However, if the weather is poor, but not so bad that we cancel the show, there may still be a number of people contacting us asking for refunds because they chose not to attend. My recent conversation has been about what we should do to respond to these people. Since we need to pay the performers, we probably won’t be in a position to offer refunds.

I have been discussing possible options with staff, board members and others. Our eventual solution may not make our customers happy but surveys have shown that even when the solution doesn’t please them, customers have a better impression of your company when you make the attempt to resolve their complaints rather than just refusing them outright.

In the process of the conversation, we decided we should post our policy on our website noting that we only offer refunds when the university closes and/or the sheriff declares a level 3 emergency.

And then came this week with the extreme cold.

Pretty much every school in county closed and many of the universities in the state did as well. We were open though.

Given that it was sunny and there was barely a dusting of snow on the ground, I started to launch into the stereotypical grandparent tirade and talked about how I stood out waiting for the bus in colder weather than this when I was younger. (Unfortunately, I not as tough as my grandfather. I only had to trudge uphill through the snow to the bus stop one way rather than both ways.)

Had we had a show and a different provost who decided to cancel classes, I might have been in a situation whereby our own policy dictated we issue refunds. At the same time the performing artists would stand there looking at me like I was crazy for saying the show was cancelled due to the cold and then glare at me when I said we weren’t paying them.

Not that the cold didn’t cause any difficulties. Yesterday we narrowly avert a large disaster when someone noticed a ball of ice forming on the sprinkler heads of the lobby fire suppression system. They just got the water turned off as the ice melted. There was some flooding, but nothing like what it could have been.

Every company knows that they should have a good disaster plan, how they will respond, where people should turn to for communications, etc,. Performing arts organizations need to know about the evacuation plans of the venue they perform in and think about issues like refunds.

But the events of the last week have made me realize I also need to know about the criteria being used by the decision makers I am depending on. I may assume the criteria is one thing and it won’t be. It may also change as personnel change.

As we heard about school closings Monday morning, a person I know who had attended and taught in some of those schools was amazed, noting they had never closed in the past. He opined that they might be quicker to close now due to people being more litigious.

In any case, being aware of shifting criteria can make for better planning. Had we or one of our renters had a school show this week with all the schools cancelling, that would have been quite problematic. Thinking about that, it just occurred to me that I should know what my policy about payment will be if a renter is impacted by school closings.

The person who made the decision to keep campus open this week when other campuses closed will be stepping down in June. I already started to advocate that very clear guidelines be developed for what conditions will result in the campus being closed and for the successor to be aware of the repercussions on our activities should the decision be made.

Now I also realize I need to know what constitutes a level 3 emergency in the sheriff’s eyes.

Wait! I Didn’t Mean YOU

by:

Joe Patti

I was taken off guard by the news today that the Trey McIntyre Project is disbanding. I always half wondered if the company wasn’t meant to be permanent based on the fact they kept labeling their work in sequential years, Year 1, Year 2, etc.,

My first thought when I read the announcement was that they were following the Epoch model proposed by David McGraw I wrote about a couple years ago. While they are closing the company, there is a transition toward projects they (predominantly Trey) was already dabbling/becoming involved in. The Epoch model calls for a “quit while you are on top” exit strategy so I experienced a “be careful what you wish for” sense of dismay a few moments later.

As I have talked about before, The Trey McIntyre Project achieved in Boise, ID what every arts organization fantasizes about doing– on the street recognition and esteem on par with the local university football team.

In this respect they are something of a singular success story so I want them to continue on as an exemplar to the rest of us. The idealism of quitting while you are ahead sounds great in abstract, but reality of executing it pretty much guarantees and requires there to be high levels of disappointment.

Well we can hope the next generation of inspiring arts organizations is waiting in the wings to fill the void. Or step up and do it ourselves.

Presenting Works By Indigenous Artists

by:

Joe Patti

A week from today, I will be presenting a panel at the Association of Performing Arts Presenters conference on “Presenting Works By Indigenous Artists.”

Our session is currently scheduled on Monday, January 13 at 9 am in the Madison Suite at the Hilton Midtown. (Check for signs and updates, they have already moved us once.)

Based on my experience in Hawaii, I know there are a lot of high quality indigenous arts performance groups out there who have a product that would appeal to the interests of curious audiences across the country.

However, I also know that there is a degree of uncertainty about how to identify artists, verify their authenticity and promote the show to audiences. So I put together a panel speak about the issue.

From our session proposal:

Session Focus:
Presenting indigenous artists, identifying groups, seeking support for tours, discussing the potential cultural requirements of those artists, promoting the artists in a respectful manner , marketing these performers to audiences who may be curious but unfamiliar with the culture; connecting indigenous artists with their local counterparts in your communities; Developing an understanding in your communities of the living and evolving nature of indigenous arts.

Session Description
There has been a marked increase recently in fine works being created by indigenous artists who combine western staging and presentation techniques with expressions of their own cultures. Recognizing that there may be a degree of uncertainty about artistic content, interactions with performers, expectations, use of terminology and promoting these productions to audiences, this session explores the issues around presenting indigenous artists.

The panel will discuss questions regarding booking decisions – identifying groups, understanding quality, your role as presenter in empowering artists to shape their own cultural expression while dispelling cultural misconceptions or stereotypes

Marketing – what is appropriate? what do I say to my community that doesn’t include these cultures? Interaction with the artists – what are the protocols? How can we create meaningful engagement?

The panel will consist of:

Colleen Furukawa, VP of Programming at Maui Arts and Cultural Center who has been instrumental in the creation and production of a number of cultural dance and visual arts works.

Karen Fischer, President of Pasifika Arts Network which represents indigenous artists and has been working to expand the programming of indigenous work in all disciplines.

Moss Patterson, Artistic Director of Atamira, the leading Maori Contemporary Dance Company based in New Zealand.

Rosy Simas, Choreographer of Rosy Simas Danse. Rosy is a Native American (Seneca) contemporary choreographer. Over the past 20 years, she has created more than 40 original works.

And, of course, myself. I have produced an opera entirely in Hawaiian, a hula drama about the Hawaiian snow goddess and a production showcasing elements of Balinese temple ceremonies. And I presented other significant works by artists from across Oceania and Asia.

You may be thinking it is easy for me to talk about how easy it is to sell indigenous performances based on my experience presenting to communities with a fair representation from similar indigenous communities. While I have lived in Hawaii, I currently live and work in the rural Midwest now and have worked in communities in NJ, FL, NY and UT as well so I am well aware of the varied types of communities many arts organizations are serving.

If you are going to be attending the APAP conference, swing by and see us.

I believe they plan to record us so between that and my own notes I will try to write about the topics we cover and the questions that are asked in a future post.