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End of No Application Required Funding In England

November 4, 2010

by:

Joe Patti

So learn something new every day. I discovered that until recently an arts group did not have to fill out an application to receive funding from the Arts Council of England. Once again, Europe proves their arts policy is superior to that of the U.S.!

I say this having just spent a lot of time filling out applications for funding. In actuality, the old policy was pretty exclusive. According to BBC arts editor Will Gompertz,“If you were in the club, you tended to stay in the club; if you weren’t, there was no obvious way of joining.” Apparently this was the way the Council was set up when it was established during the Second World War. Funding was solely based on the council members’ judgment that an art organization had a reasonable chance of success.

Now the process will be opened up to any who want to apply. Partnerships and collaborations are being encouraged. According to one report by the BBC, “Some successful applicants will also be asked support smaller companies by providing facilities and expertise. ” The Guardian quoted Arts Council executive director Alan Davey, “A few will have a “strategic relationship” with ACE, meaning they will be expected to deliver for the wider good. Davey said: “We might ask them to take responsibility for talent spotting or helping smaller organisations with fundraising expertise or offering back office services.”

I will fully admit these are the type of relationships that should be encouraged in the U.S. I have referenced the duplication of effort I see in many communities. I do want to point out that the United States is a whole lot bigger than England though so this can’t be applied uniformly across the country. While Davey does talk about potential strategic partners as those having valuable skills, he also mentions relationships based on geographic proximity a couple times. If arts funding policy in the US was going to look to leverage strategic hubs, it would have to acknowledge that this is easier to accomplish on the coasts than in other places.

This change in funding policy by the Arts Council of England was precipitated by a deep cut to the Council’s budget. Even though the process is more accessible to a greater number of organizations, it is anticipated that about 100 organizations would lose their funding. In that environment, you would expect that people would want to work to make sure that they weren’t one of those hundred. A different article quotes Alan Davey. “Davey also said that organisations should not be looking to change their remit in order to secure funding, but should build on their existing strengths and character. He said: “‘I would hope that they would see things within the goals that we’ve got that they would be able to latch on to.'”

Shifting priorities or creating programs that don’t quite fit the organization for the purpose of getting funding has long been a problem in the U.S. It is a pity to see the possibility that arts organizations may be driven to that practice in the hopes of competing for support.

Government Relations, State of the Arts

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Be True To Your Arts Council*

November 2, 2010

by:

Joe Patti

Yesterday was the deadline for grant proposals for to our state arts and culture foundation for the next biennium. Due to budget cuts by the current governor, we don’t know if we will be getting any money from the foundation this year which possibility makes applying for funding in the next two years an time consuming exercise in futility.

On the other hand, today is election day so we will have a new governor very soon. I wondered if that had any bearing on the grant deadline being the before the election. Actually, it occurs to me that it did in a way. The grant deadline is usually on a Friday but with budget cuts, the foundation staff is furloughed on many Fridays. The staff probably felt it was better to move the deadline to Monday rather than deprive applicants of a day to prepare by making it Thursday.

There wasn’t much talk by either of the candidates about restoration of arts funding that I read or heard about this campaign season. I know at least one of the candidates is an avid arts attendee because I have seen him in my venues as well as others around town. I am hoping he wins, but we shall see.

Despite not knowing if we will get any funding this year, we are crediting the foundation for funding both in our print and web materials and thanking them from the stage in the curtain speech. They have provided support for us in the past and it doesn’t take much effort on our part to tell people that they are benefiting from the funding when they attend our performances. Besides, if we do get funding at some point this year, the foundation requires the credit so it is better to have it from the start.

And as I said, politicians attend performances so it is useful to have them sit in a crowded theatre and be reminded that funding the arts does a lot of good for their constituencies. In turn, they can tell the public that they work to provide those sort of experiences.

*Apologies to the Beach Boys

Arts in an Age of Technology, Government Relations, State of the Arts

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Don’t Believe Everything You Read On The Internet

November 1, 2010

by:

Joe Patti

Bit of a cautionary tale about how we process and evaluate the deluge of information we receive these days thanks to microblogging sites like Twitter. I follow a number of people via Twitter and I think it has helped the quality of my blog posts because it is easier for me to get information on a wider variety of topics than I can often get reading other people’s blogs. (Though there are a lot of blog I follow faithfully as well.) I have been considering starting a Twitter account associated with my blog because there are so many tidbits I come across that aren’t necessarily worth a blog post, but interesting and worthy of some consideration just the same.

I imagine that is the situation David Dombrosky is in. He probably follows more people than I do and passes along anything that sounds a little interesting as he did last week when he retweeted Jeese Newhart’s tweet “Seth Godin: Why Artists Think It’s Safer To Fail Small” David probably didn’t get a chance to watch the video in the blog post using that exact phrase as a title which Jesse linked to. Judging by the number of tweets Jesse has, he may not have had time to watch it either.

I bookmarked it to watch this weekend with the intention of doing an entry expanding on Seth Godin’s thoughts.

Problem is, Seth Godin doesn’t say this at all about artists. He doesn’t mention artists at all. His talk is about entrepreneurs who heed their lizard brains and never fully commit to taking risks. Granted, these statements can apply to artists, but the title and in fact the text of the entry claim Godin addresses a problem specific to artists and music when he references neither.

“Seth Godin gives a speech on how artists sabotage their work. They follow the pattern and attempt to fail small…. At the last minute, most artists will take a half step back and take that compelling elements out of their music because it’s safer to fail small. The resistance causes them to compromise truly great music and settle for an album that’s good enough.”

Commenters on the post criticize all these misleading elements but I didn’t even look at those until I started wondering when Godin was going to talk about artists. I lay the blame for laziness and poor quality on the shoulders of Kyle Bylin who authored the post. Given the text of the post I can’t blame those who saw something of potential interest to the arts crowd and passed the link onward.

But now thanks to the speed at which information can be passed along using texts and tweets and status updates, when arts people gather to discuss the trials and tribulations of working in the field as they are wont to do, there is the potential that thousands may utter something akin to “Did you see that Seth Godin says artists are too meek and only produce commercially viable products?”

While there is a good chance that he might say that, he didn’t.

I am sure it doesn’t come as news in times such as the current political campaigns that it is easy to spread misinformation to a great number of people. We have to remind ourselves that it can happen in areas we don’t perceive as political.

Arts in an Age of Technology, State of the Arts

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Spend More To Make Your Donation Really Worth It

October 27, 2010

by:

Joe Patti

For the last couple weeks I have been attending films at the Hawaii International Film Festival. I actually don’t go to the movies all that often so seeing a series of movies over 11 days got to be a strain at times, but the opportunity to see a number of quality films is too good to pass up. Of course, I paid attention to the way the festival interacted with their audience.

I became a member at the $100 level this year and received an allotment of free tickets in exchange. Membership also allowed me to enter the theatres first before those who had purchased their tickets singly. This is an option for providing a perk in a general admission setting. Though it required that I queue up about a half hour in advance. They did a good job assigning their movies to appropriate sized theatres in the complex. My friends were in the non-member line and handed me their coats to put on the seats next to me. The theaters never got so full before they were able to gain admission that I had to contend with the no saving seats policy.

There was one house manager that was excellent. I encountered her in a number of films. She had control of the audience of 200-300 people all by herself. She filled the space with her voice and promised ludicrous things to anyone who identified an open seat. It got people laughing and on her side.

Getting back to the membership structure again. Intentional or not, the way the festival structured the membership benefits, it had my friends talking themselves into buying more tickets. In addition to free tickets and getting in first, membership also allowed you to purchase the $12 tickets for $8. The way my friends figured it, if I paid $100 for my membership and got 6 tickets free ($72 value) the membership would be worth it if I purchased an additional 7 tickets (four dollars savings on each one equaling $28, thus saving me my $100 membership.) Of course, by that point I would have spent $156 which I am sure the film festival would have appreciated. That convoluted attempt at reasoning made me reflect on the psychology of pricing and the way people make decisions. I have been reading bits and pieces about the field of behavioral economics as discussed by people like Dan Ariely. Episodes like this make me think I should be paying better attention.

The one other lesson I took from the festival is that even though technology seems to be a threat to the performing arts, it can’t be a substitute for a story. Though it often seems that way.

Julie Taymor’s The Tempest had some great acting, an interesting location (filmed on the lava fields of the Big Island of Hawaii and island of Lana‘i), and an intriguing dynamic created by casting Helen Mirren as Prospero, a role Shakespeare wrote as a male. But the movie had a such a large amount of CGI, some of which seemed to be left over from the psychedelic parts of Taymor’s Across the Universe, it made the movie disappointing for me.

Zhang Yimou’s Under the Hawthorn Tree depended entirely on the story of two people falling in love during China’s Cultural Revolution to make its impact. The movie is based on a true story and was so heart breaking, I was hoping some of the chaste lovers’ interactions had been exaggerated for dramatic effect because it the reality of it would have been too hard to bear. (I am sure the reality was indeed much worse.) I was so anxious that they were going to be found out and their lives ruined for mundane things like the guy buying the girl boots so her feet would be protected against lime burns, I was a little relieved by the sorrowful ending that left the audience in tears because it didn’t involve prison or re-education camps.

There is great importance to a good story told well. This isn’t a matter of comparing an American director to a Chinese director. People are hailing Zhang Yimou for returning to this type of storytelling after big garish extravaganzas like Curse of the Golden Flower which relied so heavily on spectacle.

Audience Relations, Management Philosophy, Marketing/PR

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