Person Who….

by:

Joe Patti

Margy Waller tweeted a link to an article which theorized that using the term “People on Bikes” rather than “cyclists” would help improve road safety by humanizing the bike riders.

I immediately wondered if there was any benefit, internally and externally, to changing the terminology applied to arts patrons. (Instead of, for example, “arts patron.”) The article starts out saying that even for those who ride bikes, the term cyclist evokes the image of a hardcore enthusiast who has uses specialized equipment and clothing like a high end bike and spandex bike shorts.

The arts have the same image problem with people perceiving arts patrons as being hardcore afficinados with a set dress code and specialized knowledge.

Replace the word “biking” with “arts attendance” and “cyclist” with “arts patron” in the next paragraph and you have a sentiment drawn straight from an arts blog or conference. (I don’t know that arts patron is the wrong term to use, I just employ it for want of a clearly alienating term.)

“From an advocacy standpoint, getting rid of the word “cyclist” removes perceptual barriers that prevent people from trying biking in the first place, says Dave Snyder, executive director of the California Bicycle Coalition. “It makes biking accessible to anyone, and diminishes the sense of biking as an activity for a subculture or one that requires an ‘identity’ to engage in. Someone who has a bike in their house somewhere and only occasionally rides it and never would consider themselves a ‘cyclist’ is someone we should definitely reach out to.”

The poster by Bike Pittsburgh featured in the article looks exactly like posters and banners I have seen arts organizations use to show that their employees performed every day functions in the community.

This may seem like silly semantics, but the article argues that the active “people who X” humanizes the entity more than the passive label.

“Try saying “people who drive” instead of “drivers,” or “people who walk” instead of “pedestrians.” Suddenly this passive, faceless term that usually connotes a victim or someone at fault turns into a more active, visual description of an actual human who is choosing to do something. I can identify more with a “person who drives” or a “person who walks” or a “person who uses a wheelchair” or a “person who rides the bus” or a “person on a Segway,” even if I don’t do any of those things, because I understand, even beyond their mode of transit, they’re still people.”

So my first question is, are there terms like patron, community, attendee that tends to make us apply a generic identity on people instead of individualizing them?

Second question is, what term should be used? “Person who attends dance” denies someone’s identity as a person who attends theater, concerts, museums, etc.

“Person who participates in the arts” seemed the best bet to me. It avoids the hardcore stigma of “person who is enthusiastic about the arts” and is more active than “one who enjoys the arts.”

In addition to being unwieldy terminology, I know this sounds like saccharine soaked political correctness. But these things can make a difference. The idea of viewing people as brains rather than butts in the seats I wrote about a couple years ago, for example.

I am actually somewhat more interested in the internal benefits of a language change than shifting attitudes externally, though I would welcome any campaign that could achieve that.

Long ago I worked at a place where the box office kept a list of all the stupid things they were asked on the back of the door. I didn’t think having staff constantly reminded that their customers were dopes was very conducive to good service. Even if they were consciously being as pleasant as they could, that list was eroding their respect unconsciously.

So I wonder what might change if an organization’s staff started referring to customers as “people who love the arts.” Marketing department meetings would talk about adverting goals in terms of attracting 500 lovers of the arts for a show. Curtain speeches could celebrate that a performance is sold out with 1100 people who love the arts.

What are your thoughts? Is there any creative person (person who exercises creativity?) who can think of an elegant, but active descriptor?

Arts In Schools Is Only Half The Battle

by:

Joe Patti

Over the last couple months, I have been enjoying Jon Silpayamanant’s series on the WPA Music Project. After reading his entries, I have begun to think that the push to put more arts in schools is may only be half the effort required to really spark an interest and sense of value in the arts.

The WPA projects involved a lot of direct and personal contact with concerts and free classes, each project involving hundreds of thousands, sometimes millions, of people in a single region each year.

According to the latest statistics released by the Federal Music Project, 2,399,446 students unable to pay for private musical instruction attended the free classes of the project in its 140 music centers throughout Greater New York during the year ending June 30. The number of classes held reached the enormous total of 145,133. (New York Times 1936)

When the federal will and funds were aligned behind the arts, a great deal of activity occurred. But my intent is not to get into the very politicized discussion of why there should be more federal support of the arts.

One thing that struck me from a post suggesting the Depression had a far more devastating effect on classical music and orchestras than seen in current times, is just how integrated into daily life live music performance once was.

Even if you manage to convince large swaths of people to take music lessons and put a piano in their living rooms, our current lifestyles almost guarantee that we will never have such as large proportion of the population that possesses some degree of musical training as we once did. Nor will we likely return to the frequency of exposure to live music people once enjoyed.

In the early 1900s musicians weren’t just performing in concert halls, they were providing music in movie theaters, restaurants, pubs, hotels and even funeral homes. As radio and recorded music become more available, (not to mention Prohibition closing down pubs) thousands of musicians were put out of work.

From the research Silpayamanant cites, it appears that even though live music was no longer as present in everyday life as before, during the 1930s the Federal Music Project brought live performance and practice back into people’s lives pretty personally and directly.

So people of my grandmother’s generation who were born in the early 1900s were exposed to live music on all sides and then had the Federal government validate the value of the arts through myriad WPA programs. They passed these values on to my mother’s generation. My parents passed these values on to my generation, though they were further diluted by the times.

You probably see where I am going with this: these first two generations are dying off as audiences right now.

I am not suggesting that returning arts to the schools won’t be helpful. When I was a kid, it reinforced the perception of value my parents and grandparents passed on to me. Reading Silpayamanant’s posts have just reminded me that not only do arts organizations need to change the way they operate in order to acknowledge changing times, arts education has to do the same.

It is so easy to say, if only we have more of a certain type of activity, things will turn around. It is easy to forget the larger social dynamics have changed. People are no longer surrounded by the same sort of artistic exemplars in their every day life to normalize the pursuit of an artistic discipline. Celebration of those who can create in an electronic medium is more prevalent and likely provides a more familiar touchstone for today’s fledgling creatives.

Using All The Parts of The Chicken

by:

Joe Patti

“Ordinary businesses have clear-cut yardsticks to measure their performance: profits, return on investment, stock prices. But what does high performance mean for a non-profit arts group? A bigger budget? A larger audience? A shiny new building?”

You have probably read something along those lines about the difference between for profit businesses and non-profits before. But when I read this at the start of a report about data collection that the National Center for Arts Research was conducting, a thought struck me.

I was wondering if much of the construction of new buildings and expansion of programs that strained the means of non-profit groups was motivated by a desire to provide some physical manifestation of the organizations’ successes. Non-profit arts organizations are frequently urged to run themselves more like a business and are governed by board members who work for businesses who use profits, stock prices and return on investment as a measure of success.

That provides some possible context for the situation at the Minnesota Orchestra which recently underwent a major renovation of the physical plant and then turned around and has tried to cut labor costs. A publicly traded company that reported building new facilities and cutting labor costs would be viewed as a success. Not so much with the Minnesota Orchestra.

It may be that the non-profit model was doomed once the ideal of increasing shareholder value was embraced by for-profit businesses. Even though they may intellectually understand the mission of the non-profit on whose board they serve, business people may unconsciously seek to apply for-profit values to the organization in an attempt to validate its work.

Number of people served each year may provide some degree of satisfaction, but no one seriously evaluates McDonald’s success as a business by the billions served sign out front. (In fact, I can’t remember if they still have the count on the sign. That is how much I pay attention any more.) That may not be a really compelling measure for most people.

Overhead, as a measure of effective use of funds has been increasingly recognized as a flawed metric. The deeper analysis being performed by the National Center for Arts Research may provide a solution because the data is synthesized in a manner more closely resembling a stock and bond rating.

Still, this is all relative to money. Non-profits aren’t supposed to be profligate spenders, but their goal isn’t to make money and these ratings are all essentially a measure of return on investment. Experimentation and an attempt at a little R&D is going to reflect poorly on you.

I spent the weekend trying to think if there was any other metric of value that could be use instead of one relative to money and I couldn’t think of one. Unless you can conclusively prove that people have a better life, test scores, job prospects, (all of which are pretty much tied to earning potential), for having met you, there really isn’t any measure of success that can be used as an alternative to effective use of funds.

The truth is, even if chickens were medium of exchange, someone would be probably be reporting if you made good use of all the parts or threw away the beaks.

So non-profit arts organizations are stuck with money as a measure. As much as I hate to have to do it myself, completing data collection reports like the Cultural Data Project is probably going to help the arts furnish evidence of their value.

I don’t imagine that it will ever prevent some arts organizations from feeling the need to provide visible and public proof of their success, but the rigor and benchmarks that can be established may satisfy many that the organization is quite effective at what they do.

A Musician Shall Lead Them

by:

Joe Patti

While I have left Hawaii, I still keep an eye on how things are going there and what my friends are up to. I was interested and pleased to see that Jonathan Parrish had been hired as the new executive director of the Hawaii Symphony Orchestra (HSO). The HSO replaced another HSO, the Honolulu Symphony Orchestra which ceased operations a few years ago. Jonathan had been on the musicians negotiating committee for both HSO organizations.

Given all the acrimony between orchestra management and musicians over the last few years, the Minnesota Symphony Orchestra being the most recent and publicized example, it was heartening to see that the Hawaii Symphony Orchestra board decided to hire a musician into the position.

I admit that one of my first reactions was to hope that Jonathan wasn’t the figurative prom date of last resort.

I know Jonathan and worked with him from time to time and served on a board alongside him. I can attest that the press release is quite accurate when it says he did a lot of good work with Chamber Music Hawaii. Their concerts were well attended and they did a good number of education programs throughout the years.

A symphony orchestra is a whole different scale in payroll and facility rental cost alone, but having been part of the negotiations for so long, Jonathan is probably well aware of those numbers.

Not knowing was his plans are, I can’t say for sure, but I suspect HSO will be much more visible and involved in the community under Jonathan’s leadership than it has been in the past. My impression of Jonathan’s work with Chamber Music Hawaii was that he worked hard to showcase the talents of as wide a variety of the musicians as he could.

Hopefully the HSO will be able to garner the support they need from the community to continue.