Home Page

When The Tenors Are Sixers At Best

March 22, 2016

by:

Joe Patti

My interest was recently piqued when I read a piece in The Economist which reported that two opera conservatories in Sweden declined to admit male singers because they were not up to standard.

The conservatory decided that even though it would make for skewed student productions, it could not admit male singers on the grounds of gender alone. The Gothenburg University College of Opera has found itself in a similar position. Of the 45 singers who auditioned this year, nine were men, but as the Dean of Studies Monica Danielsson tells Prospero, “none of them reached the level of admission”. Consequently, none of them won a place.

As a comparison, the article cited Indiana University Jacobs School of Music which,

…receives a similar ratio of female to male applicants. But unlike Swedish conservatories, the school admits a weighted student body. In effect, sopranos have to score much higher marks to gain admission. “We have to strive for a balance between the voice parts,” explains Professor Mary Ann Hart, chair of the school’s voice department. “You can teach singers repertoire but at an opera school, at some point, they have to act on stage.”

It should be noted that there is no mention about whether the men admitted to Indiana are up to standard or not, only that there is much more competition among women than men due to the ratio of applicants.

I have never really viewed myself as much of an activist when it comes to the subject of the gender imbalance in arts job opportunities. But I feel that whether what is happening in Sweden is isolated or indicative of a trend, it bears attention.

When the argument a male is more highly qualified evaporates and the criteria for admitting or casting a male is based on a piece written hundreds of years ago needing one, it is probably past time to start creating new works with more roles for women.

When it comes to the performing arts, I am always going to lean toward high level of skill as a criteria. Arts careers are difficult to pursue so if someone only has the capacity to be mediocre at the end of their training, they shouldn’t be lead to believe they can compete at a high level. If the guys can’t meet an objective measure of this ability, then it may be for the best if they are cut.

Is it fair to women who entered the conservatory at 8 striving to raise their proficiency 9 if they are forced to perform beside a man who operates at 6 and was admitted so that a performance could be mounted?

Admittedly this is a tricky question. Working alongside others who force you to bring your best everyday is important. Yet as the professor at Indiana says, practical experience, not theory, is the ultimate goal of the training. Right now the male voice is needed for that purpose when it comes to opera.

This isn’t just an issue with opera, musical theater and acting programs, with some exceptions, face a similar ratio of female to male applicants.

I have seen training programs where there are 300 theater majors and you are lucky if you get on stage once in all the years you are there. That type of arrangement sucks. What would be worse is if there were a similar situation where you would be lucky to perform before you graduated if you were female, but averaged a role every other semester if you were male.

If it was just a matter of more women applying to programs than men, that would be one thing, but if there is a large number of very highly skilled women applying to programs (or even just auditioning based on the skill they have been able to cultivate), then there is a demand for challenging roles to suit them.

Ideally, there would be more roles written with built in flexibility so that choosing to produce a good show didn’t have added baggage of the gender mix. I suspect currently there would be a tendency to cast men rather than women in those roles. I can’t see how a blind audition process like orchestras use could be devised that would mask gender and still accurately evaluate ability in singing and acting.

Art(ist) Education, Working In The Arts

4 Comments

Leading 1.25 Days A Week

March 21, 2016

by:

Joe Patti

By and large I keep things general and relatively low on direct criticism in my blog posts. However, since the goal of this blog is to engender better practices in arts organizations, I feel like I need to address a topic that is under discussed –writing effective, accurate job descriptions.

I see a lot of poorly written job descriptions but there was one that came across my Twitter feed last week that was particularly egregious. Even after a weekend, it still bothered me. I won’t name names, but I am going to pull some lines from the description rather than obliquely referencing it.

The job is for an executive director. The one line that left me incredulous was:

Responsible in developing and executing a management plan where within two years the role of Executive Director will spend 75% of time on fundraising.

To put that into context, 75% of your time is 3.75 days a week. Now you may say the executive director wouldn’t be doing this every week, some months would be more focused on fundraising than others but that is still 9 months out of the year. No matter how you slice it, 75% of a person’s time is still a significant amount of time. If the Executive Director takes 2 weeks vacation, that means leadership and other functions get the 2.5 months that are left.

The amazing thing is, this is listed as number 8 of 8 primary responsibilities. How can something that is expected to take up 75% of an executive director’s time be listed last in a list of primary responsibilities?

Now, I will admit if you read the whole description the fact the person will be expected to do a lot of fundraising finds its way into pretty much every line:

• The position works within a team environment and is responsible for ensuring strong working relationships across the arts and grantor community;
• Plays a central role in fundraising including individual donors, corporate sponsorships and writing and obtaining grants;
• Executing a strategic plan including: education and outreach goals; development of a donor engagement plan including annual giving, events, corporate and volunteer relations; establishment of a major gifts program; and execution of a technology initiative including both hardware and software;
• Financial oversight including drafting and meeting a detailed annual budget;
• Ability to create and nurture relationships with new and existing funders, as well as write and secure grants to underwrite new and ongoing initiatives and general operations;

It would be better if the 75% commitment to fundraising was listed first and then what followed illustrated how that would manifest itself.

But this is more than just a matter of poor formatting and organization of ideas. Overall, I felt like there was a misunderstanding of the role of an executive director and a large mismatch in expectations.

Among the qualifications listed of the applicants are:

• Bold and creative thinker to lead a talented staff;
• Demonstrate good governance, financial oversight, and best non-profit management practice;
• Comfortable with traditional and emerging media;
• Proven leadership skills identifying profitable opportunities and growth within the communities we serve;
• Preferred demonstrated passion for the mission of arts, arts education and outreach to all communities;
• Familiar with STEAM and the maker movement;
• Experience and enjoyment in managing multiple challenging initiatives concurrently;

There was one line in the expected qualifications about possessing fundraising skills, but the primary responsibilities are replete with references to fundraising and grant writing. The qualifications and responsibilities don’t seem to be in synch with each other at all.

The expectations outlined in the qualifications are in line with an executive director, the expectations expressed in the responsibilities are generally more appropriate for a development director.

Where is there time in the 1.25 days a week or 3 months not dedicated to fundraising to devote to leading the staff, focusing on good governance, identifying opportunities for increasing revenue and growing the organization, pursuing a mission of arts education and outreach?

One of the primary responsibilities listed does call for “examining and evaluating the role art plays in the communities we serve and subsequently installing new, progressive and sustainable arts initiatives,..”

I have a suspicion that they started with the qualifications list and then started brain storming about responsibilities. As that list came together, whomever was contributing came to the realization this person would have to work on fundraising a lot and may have arrived at the 75% number without thinking about how that really broke down time wise.

That said, if they really do need someone to devote 75% of their time to fundraising, it would be better to hire a separate development person who only focused on that. If there isn’t money to hire two people then either expectations need to change or priorities need to be evaluated. Does the organization have a greater need to raise money or for focused leadership?

If the answer is money, then hire the development person and the board needs to decide on some sort of ad hoc leadership structure shared between the other staff and board members.

An executive director definitely does participate and contribute to fundraising efforts, but theirs is a leadership position. That leadership can not be exercised 25% of the time and still meet the expectations that staff, funders, business people and community partners have for a person with that title.

A person spending 3.75 days a week/9 months of the year soliciting support is going to be making significant commitments on behalf of the organization. Who is going to be setting the standards, researching best practices, creating policies and leading the staff to meet those commitments? The executive director in the other 1.25 days/3 months?

Who is going to make sure those commitments are met, gather supporting data and materials and do the follow up reporting? That is part of the executive director’s 75% time attending to fundraising you say?

Okay, yeah, maybe, but in the process something is going to suffer. These tasks are time consuming and reporting requirements are increasingly out of scale with the funding received.

There are a lot of factors at play here. Many aren’t specific to this job description. The description just reflects a lot of poor practices that have permeated the non-profit arts. If there is an Everyman, much of this description is Everyjob.

The questions I raise are among those that really need to be considered when writing a job description. Every organization is different so it is close to impossible to borrow sections of other company’s job description and do a good job generating your own.

I am willing to give the organization the benefit of the doubt and believe (even hope) that this description (and other like it) doesn’t match the reality of the position and more attention needs to be paid in making it accurate.

If it does reflect reality, bless the person who takes the job.

Boards, Fundraising, Leadership, Management Philosophy, Working In The Arts

6 Comments

A Future Without A Ticket Office Window

March 16, 2016

by:

Joe Patti

When I read a post on Marginal Revolution blog about high end stores hiding cash registers in favor of roving sales associates with mobile checkout devices, I immediately wondered if there might be some type of benefit in eliminating or diminishing the physical box office for the arts attendance experience.

As such this is largely an intellectual exercise. I don’t pretend to have thought through all the benefits and repercussions.

Tyler Cowen makes the following observations about the Wall Street Journal article that described this retailing practice. There seemed to be an idea that not having to stand in line was one element that gave online retailers a competitive advantage.

1. Waiting in line is described as “unenlightened.”

2. I enjoyed this remark: “We’re downplaying that last transactional part of the experience…” And this: “”Researchers have identified a concept known as “the pain of paying,” said Ziv Carmon, a professor of marketing at Insead, a business school with campuses in Europe, Asia and the Middle East. “Doing away with the queue and even with the register makes the upcoming pain of paying less salient,” he said.”

3. When customers are not waiting in line but rather having their purchases processed “privately,” salespeople are encouraged to socialize with them and get to know them better. And: “Stores say sales associates are expected to sense when a shopper is ready to pay.”

Positioning staff to socialize with customers and get to know them better is definitely a plus for arts organizations.

I did see a couple factors that would make it difficult to replicate the experience of a retailer.

First, unlike retailers, people are looking to make a purchase the moment they walk through the door at an arts event. On the other hand, the fact that many may have already purchased tickets in advance means that when service reps aren’t busy they can engage patrons in conversation in a manner they couldn’t behind a ticketing desk.

Second, the physical design and experience of performance spaces means a person is likely to have to stand online at some point- getting in/out of the theater, buying food at concessions, getting out of the parking lot.

In terms of benefits for performing arts environments, one of the first applications I thought of was for admission to outdoor music festivals. Since people people often queue up early, roving sales people can allow the people who showed up at 3 am stay at the very head of the line without needing to pass through the box office position.

Multiple delays can be avoided if people are able to purchase tickets while waiting to pass through a security checkpoint, rather than waiting on the ticket line and then the security line, etc.

The other thing I envisioned for arts facilities was having large monitors mounted off to the side and overhead similar to how airports have the flight status boards. That way people can gather around them and view up to the second seating status and discuss where they would like to sit. If they have questions or have made their decision, they can gesture to a sales person hovering at the fringes. (Ideally, the sales person will have read their body language and approached them already.)

When the sales experience is designed in this way, those who know what they want aren’t held up in line behind people who are debating the relative benefits of different seating arrangements. This can also help further physically separate the will-call line from the purchasing line.

It would probably be best for cash sales to occur at a physical box office since staff pocketing thousands of dollars while wandering the lobby is both awkward and a huge security risk. There might be some issues if the wifi signal carrying credit card authorizations wasn’t secure, but on the whole a larger number of cash less transactions and mobility of technology can eliminate the annoyance of yelling through plate glass to buy tickets.

By Abesty (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

Now, of course, this requires a certain level of technology. In order to sell tickets in this manner, a sales person would have to have access to a small printer they could carry around that printed a sales receipt and slips of paper the purchaser could use for admission. Or a small kiosk/pedestal nearby that they could retrieve the receipt and tickets from.

You wouldn’t necessarily need large monitors mounted in the lobby if the roving ticketing staff could check ticketing status on a tablet computer and point out available seats on it or a printed seating chart.

It also assumes the lobby is large enough to accommodate these sort of activities. On the other hand increased mobility could allow for sales in parts of a small or strangely shaped lobby that a full box office and associated line wouldn’t be able to fit. That in turn might open up the flow of people through the lobby and make the experience more welcoming. (Especially if congestion in the lobby previously force people to stand out in the weather.)

Any insights, inspiration or concerns about this idea?

Arts Facilities, Audience Relations

10 Comments

Artistic Ability Is As Much A Birthright As Language Ability

March 15, 2016

by:

Joe Patti

Jason Gots, editor and creative producer over at Big Think recently wrote about “The Upside of Amateurism.” He is troubled by the perception that so much value is being placed on expertise that it is stifling curiosity and creativity, a concern shared by many in the arts, business and education world, among others.

…I fear that the present day is a place/time where expertise is so valued and specialties so specialized that people are shamed out of experimentation and curiosity, the only two impulses other than love that (as far as I’m concerned) make life worth living. In the 18th century, Benjamin Franklin could be a printer, fiction writer, inventor, scientist, and statesman and end up a hero of the age. Today he’d be an eccentric dilettante with branding problems.

Let’s take the example of music. The Japanese educator Shinichi Suzuki (1898-1998), creator of the world-famous Suzuki method of music instruction, believed that we do violence to children when we teach them that music is a “gift” you’re either born with or not. We ought to be teaching music, he believed, the same way we teach language — as a birthright.

[…]

But we don’t teach kids to worry about whether or not they’re “talented” in their native language. Or to give it up by adulthood if they haven’t yet won a scholarship. Yet how many adults do you know who play, sing, or write music on a regular basis? If it’s more than a handful, you and your friends are a cultural anomaly. And that’s a real shame, isn’t it?

I have often heard about the Suzuki Method, but I really wasn’t aware of the philosophy before reading this article.

When Gots pointed out that we don’t worry about whether kids are talented in their native language, (grammar and spelling criticisms on social media notwithstanding), it immediately reminded me of Stephen McCraine’s “Be Friends With Failure” webcomic I wrote about a few years ago.

In one of the panels of that comic, McCraine says we don’t tell kids to give up if they don’t master language immediately so we shouldn’t tell ourselves to give up if we don’t master some artistic form within a short time.

I was also reminded of Jaime Bennett’s TEDx talk where he notes that we easily identify ourselves as tennis players and golfers, but not as having artistic talent.

“why we can so easily see ourselves on a continuum with Serena Williams and Tiger Woods, but we don’t think anything we do has anything in common with Sandy Duncan.”

This all ties back to the general effort by organizations like the National Endowment for the Arts (NEA) to disseminate a message that everyone has the capacity to be creative. In the case of the NEA, one of the steps they have taken toward this is widening the definition and scope of what constitutes participation in an artistic experience.

To a degree, the idea there is too much focus on expertise ties into the Hewlett Foundation study I wrote about yesterday that reported there was a concern that the professionalization of the arts management field may be narrowing access to those jobs.

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

No Comments