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Capacity To Synthesize Creativity

August 29, 2022

by:

Joe Patti

I have been a firm believer in the idea that everyone has the capacity to be creative so I read a piece on The Conversation discussing how creativity doesn’t occur in a vacuum with great interest. In particular, the article discusses Edward P. Clapp, of Harvard University’s Project Zero reflections on a recent Beatles documentary which employed lengthy archival footage of the band’s work creating the Let It Be album. Clapp asserts that songs like “Get Back,” sprung forth from Paul McCartney’s mind in two minutes, as a result of years of social context and the artistic dynamics in the room.

But he also emphasizes principles highlighted by researchers who have examined the phenomena of creativity: in this solitary time, they draw on past collaborations. They also engage with the technologies or tools of predecessors and they “work in relation to an often complex polyphony of current and historical audiences.”

For example, there was a social movement in England at the time to have black immigrants from former colonies to go back to their countries. Likewise there is a pervasive undercurrent of class distinctions in England which can lead to a sense of imposter syndrome. Apparently, McCartney’s desire to get back to live touring is a frequent topic of discussion in the documentary. And, of course, the band was going through a fair bit of conflict and tension during the recording of the album.

Similarly, during the “Let It Be,” recording sessions, the band played/jammed on over 400 tunes of all genres, all of which created a mood and informed how the members and participating musicians were thinking and processing the experience.

Building Public Will For Arts And Culture, creativity

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Making Venue Upgrades Pleasant For Everyone

August 24, 2022

by:

Joe Patti

I don’t remember exactly how, but I became aware of a grant program administered by the Community Foundation for Greater Atlanta (CFGA) called “A Place to Perform,” which supports the efforts of arts groups to access performing arts spaces.

A Place to Perform is an initiative of the Community Foundation for Greater Atlanta created after the theatre space of the 14th Street Playhouse became unavailable to a wide range of Atlanta’s nonprofit performing arts organizations. Historically, A Place to Perform has provided grants to nonprofit arts organizations to assist them financially in gaining access to performance venues so they can produce performing arts experiences for the public throughout the metro Atlanta region.

This struck me as a great idea. Throughout my career I have frequently worked with groups who were looking to take the next step up from where ever they had been performing before. Often it was because they were attracting audiences that were too large for the spaces they used in the past or they wanted to do a show with higher production values.

Thinking about these experiences, it occurred it me that a program like the one for Greater Atlanta should also offer additional funding or include the services of some sort of guide/stage manager/technical adviser to help groups make this sort of transition.

A problem the venue staff of places at which I have worked repeatedly encountered with groups trying to make a transition from a space with smaller audience and technical capacities was a disconnect between what they envisioned and how to accomplish it. Now granted, we often ran into the same issue with some repeat renters who seemed to start from square one year after year, but at least we had notes from early shows upon which to build.

With brand new renters it often difficult to just get to the point of creating an accurate estimate for equipment and especially labor. Having a lighting and sound change, a curtain flying in while a set piece flies out and microphone packs being transitioned to other people can mean 10 people paying very close attention to what is going on where you had three at the smaller venue you were at previously.

If a grant program paid an experienced person to sit down and talk through your vision with you and then communicate that to the venue or even fund the person to coordinate those details through the run of the show as a stage manager or production designer, that would help the whole experience run smoother for everyone.

And yes, there is nothing keeping groups from including that in their grant application –except they don’t know that it will be helpful to have a consultant. Best approach might be to have something in the grant application and any applicant Q&A sessions encouraging people to think about whether they might need help and including it in their budgets.

This is not to say that venue staff can’t help. Every place I have worked, the staff has been willing to provide advice and patiently work with new groups. In a couple cases, staff has provided planning documents and templates which cut days off the rehearsal process. The biggest problem has always been surprise additions which ends up over working the staff and raising the final bill for renters.

Arts Facilities, Management Philosophy, Working In The Arts

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Interesting Thoughts On Arts Management Styles

August 23, 2022

by:

Joe Patti

Andrew Taylor made an interesting video/post about dominant arts management styles on his blog recently. I am always wary about personality type tests and categorizations, particularly because so many are based, developed and administered using questionable methodology. I do think they can be useful as a tool for self-reflection and consideration if they are subsequently discarded and not used to define oneself.

In this particular case, Taylor is applying Ichak Adizes’ PAEI management framework to arts managers. PAEI stands for Producing, Administrating, Entrepreneuring, and Integrating. Taylor is careful to note that this frame:

“…is not to suggest there’s just four kinds of people in the world or the working world. The purpose is to suggest that each of us brings a dominant concern to the work; a dominant way of paying attention; and a dominant understanding of what it means to be productive in the workplace.”

Because everyone employs a mix from each of these areas, to get a sense of what your dominant approach is, Taylor says you might look at how you react when you are under stress and things around you are going poorly. Also, if there are things other people do in a work environment that drive you nuts, they may be operating in a mode opposite to your dominant approach. He gives the following examples of how each of these styles might manifest in practice:

Do you double down and get the work done that’s in front of you? Are you a producing energy?

Do you pause and think about what’s the better system to manage this process? Rather than getting it done now, let’s get it done right? Making you an administrating energy?

Do you focus on a distant future and say, Well, maybe what is in front of me now is really not the useful thing. Maybe there’s something bold and new and different I should be thinking about?

Or is your impulse to check in with others and your team and see how they’re doing and what they’re doing and how they’re finding focus in their own energy in this moment?

Taylor says that the extreme of each of these can be very damaging for an organization: The Lone Wolf Producer that moves forward with the work without concern for whether it serves the needs of the organization; The Administrating Bureaucrat that focuses on things being done according to the rules and best practices, halting progress; the Arsonist Entrepreneur who consistently burns everything down in order to create something new in the ashes; the Super Following Integrator who focuses on serving whatever needs the group expresses today.

I am skipping over quite a bit here, but the video and accompanying transcript are really relatively short so if your interest is piqued, it is worth the time to check out his post and ponder the insights you may receive.

Leadership, Management Philosophy, Marketing/PR, State of the Arts

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“…I had all this music inside…but I could not express it through an instrument”

August 22, 2022

by:

Joe Patti

Yesterday I had the opportunity to attend a screening of the short documentary, Conducting Life, about Roderick Cox, a man who grew up here in Macon, GA who went on to become an associate conductor for the Minnesota Orchestra. Now based in Berlin, he works internationally as a guest conductor.

The documentary recounts his pursuit of music from adverse conditions. He talks about coming home from school excited to practice only to find that his keyboard had been pawned to pay utility bills. He approached Zelma Redding, widow of Otis Redding, for money to buy a French horn for school.

What interested me most was the insight into the career arc toward becoming a conductor. I have often seen documentaries or fictionalized depictions of classical musicians competing for places in an orchestra, but I really don’t recall having seen much about conductors. There is footage of him being coached at the program at Northwestern University and by Robert Spano at the Aspen Music Festival. It was amusing to watch him get instructed to be a little more expressive in these classes and then see footage of him conducting in Minnesota and other places where he cranks it up to 11+ with such full body involvement that you hope he does yoga stretching before he gets on stage.

If anything I think the documentary didn’t go deeply enough into work he did to achieve his current position. While it does show him disappointed at not being hired at various orchestras, I can’t imagine he was only auditioning at some of the bigger name organizations like Atlanta, Cleveland, LA and Salt Lake City before ending up at Minnesota, though that might have been the case.

Admittedly, in the Q&A after the screening, Cox admitted he was a somewhat reluctant participant in the documentary. He thought it was only going to be a profile piece while he was at Aspen only to find that the director was interested enough in his story to follow him around for seven more years. So he may not have afforded the filmmakers with the access they needed to make a more detailed movie.

The Q&A afterward revealed a very humble, introspective and funny person. He gave a lot of credit to different people who helped him thus far in his career. He made it very clear that while the documentary shows Otis Redding Foundation helping him buy a French horn, the reality was that when he wanted to go to England, Spain, and France to learn to be a better conductor, the foundation helped him out each time. He also talked about a difficult experience familiar to a lot of people who pursue arts careers where he was auditioning for major classical music institutions and friends were sending him job listings for middle school band teachers. He was also very funny while being politic in answering about the additional challenges in conducting operas and the fact that people in his hometown can circumvent his management to contract him to conduct.

If you have the opportunity, check out the documentary at a festival or see Roderick Cox at an orchestra near you.