Which Reminded Me Of…

by:

Joe Patti

I was reading Adaptstration today in which Drew McManus was talking about seeing an orchestra program which was specially designed to show off the technological advantages of HDTV. It reminded me of another article I read back in February where students from MIT were dreaming up ways that technology could enhance an arts attendance experience. One of their ideas was to project a hologram of a conductor in Germany in front of an orchestra in Miami and have them make music with half the world between them.

When I originally read that article in February, it reminded me of some musings I had years before on the future of theatre. With the trend of people deciding to receive their entertainment at home, theatres would have to adapt by presenting their product across the same delivery channels. Arts on television currently doesn’t have much of an audience. However, I was thinking that an emerging holograph or virtual reality technology could provide the answer.

My wild idea was that people could choose to plug in to watch a live performance from home. However, they could not only choose to watch from an audience’s point of view, but also from the point of view of each character via a small camera mounted over the ear like a body mic. In this manner, they could experience what it was like to be up on stage in front of an audience, what it was like waiting in the wings or rushing around to enter from the other side of the stage. Some costume changes might have to be censored out depending how much they revealed.

There would be, of course, the added thrill of taking the point of view of one of the actors who about to be kissed by the celebrity sex symbol so that you feel you are being kissed yourself.

This is the advantage of live creative arts over film. Movies might be able to provide people with the point of view of being in the actual movie. But because films are shot out of order and there are long periods of inactivity for those involved, they can’t provide real time behind the scenes insights and interaction.

When I first envisioned this idea, I figured technology might make it viable by the time I was 70. However, it appears the bright minds are moving ahead faster than I gave them credit for. Be interesting to see how soon it is a reality.

Storming the Barriers

by:

Joe Patti

Since I was talking about the PARC survey yesterday, I thought I would continue today with a discussion of barriers to attendance and give a few thoughts about dealing with these problems.

The top three cited barriers to attendance were: Hard to Make Time to Go Out, Preference to Spend Time in Other Ways, and Cost of Tickets. However, there were some interesting lessons from nearly all the barriers.

In regard to Cost of Tickets, the survey found (bolding is mine):

We draw three conclusions about cost of tickets. First, as might be expected, the cost barrier is associated with household income level. In short, households with lower levels of income are more likely to cite cost of tickets as a barrier to greater attendance. This relationship is strongest in Sarasota. The relationship is weak in Boston, where a quarter of respondents from the wealthiest households still say that cost is an inhibitor for them.

Second, the tendency to claim cost of tickets as a barrier to performing arts attendance is substantially unrelated to education level, age, or whether there are children in the home…Oddly, the positive sign indicates that respondents with more education (who are also those respondents who tend to have higher incomes) are slightly more likely to cite ticket prices as a barrier than their less educated counterparts. While the low level of Somer’s d implies a weak relationship here, we nonetheless suspect a complicated
association among income, education, and the attitude toward cost of tickets in explaining attendance at performing arts events.

Third, unlike most other barriers, cost of tickets is cited by a greater percentage of attenders than nonattenders or frequent attenders. This generalization is not true in Sarasota, where frequent attenders are most likely to cite cost as a barrier, but it is a clear finding in the other four communities.

I found it very interesting to learn that people who attend often and have higher levels of income and education are more likely to cite cost. It almost makes me think that people who enjoy attending performances might come more often if the price was lowered except for the barrier of hard to make time to go out.

The study found that hard to make time to go out was “Overall, attenders and frequent attenders are almost as likely as nonattenders to say that hard to make time to go out is a substantial barrier. The main factor that makes this a big barrier for more people is the presence or absence of children in the home. Whether the children are younger or older, respondents in households with children are much more likely to say that time keeps them from the performing arts.”

These results might suggest that a daycare (or nightcare) center might remove this as a barrier for some people. The Utah Shakespearean Festival ran one in conjunction with their performances when I worked there. Satisfying older children might be more difficult. While programming can certainly be aimed at entire families, adults occasionally want to be engaged by more mature subject matter.

In a related question, family obligations was cited as a big barrier to attendance by those with children and hardly at all for those without. The ages of those indicating it as a big problem fell between 25-44 which may partially explain why mean audience age tends to be around 50. That is the time when the nest empties and people can indulge their inclination to attend.

Parking, as one might imagine was cited as a bigger deterrent in cities where parking was a problem. Unsafe and Unfamiliar location was cited as a big impediment less than 10% of the time. However, the researchers noted that the least educated, least wealthy and oldest respondents were more likely to rate this as a substantial factor. “Washington, D.C., is notable because more than twice as many nonattenders cite this factor as a barrier than attenders. This suggests that the issue is substantial enough to keep some people away who otherwise might be inclined to attend performing arts events.”

Some of the results here were very interesting to me. It was no surprise that older attendees might be turned off by unfamiliar or unsafe locations. However, the results also suggest that people with the most education and most to lose if they were mugged or had their car stolen were less aware of the danger than those with less material wealth, but apparently more practical education in the matter.

The response of Insufficient Publicity or Information About an Event was very interesting. The survey found that the older the respondent, the less likely they were to cite lack of information as a barrier. This suggests to me that dissemination of information over the internet, email, cellphones, pagers, etc may be important to attracting younger audiences. Younger demographics don’t get their information from print media as much as their elders do. Certainly, they aren’t listening to the same radio stations as the long time patrons are.

While advertising electronically and moving ads to the hip stations won’t automatically bring youthful hordes to the seats, these channels can support a campaign that communicates the value of attendance to this demographic.

One of the other big response categories was related to enjoying other things. The survey makes a sort of “no duh!” statement that “a big reason why some people do not attend the performing arts is that they prefer to do other things.” It is one of those questions that has to be asked if you are going to administer a valid survey, but which doesn’t yield earth shattering answers.

The response that there was “No One to Attend With” wasn’t a major factor overall in not attending. It was a big problem for those with lower education and those who did not attend. Lack of Appeal and Feeling Uncomfortable and Out of Place as barriers were also tied to education level and non-attendance, though the relationship to education level was slightly weaker. This information made me think that an offshoot of the docent program Drew McManus suggested might be helpful for this demographic. In addition to providing a relaxed format of education, assembling a group who are all nervous about attendance could be enabling as it eased their anxiety and provided a source of companionship for the future.

Good for the Goose, Better for the Gander

by:

Joe Patti

I was looking back at the Performing Arts Research Coalition (PARC) study on the value of arts in the community. I had written about a portion of it back in March.

One of the findings of the study was that people felt the arts had more value to their community than it did for them as individuals. In the cities surveyed, between 79% and 85% of attendees strongly agreed with this idea as did about 33% of non-attendees. This idea that my neighbor needs the help more than I do was recently discussed in a brief Scientific American article which found that people often rate their moral, social and religious behavior better than their neighbors and also feel that they are less biased and fairer in their judgments than the next person.

An additional discovery the PARC study made was that 2/3 of those surveyed strongly agreed (it shoots to 9/10 if you include “agree” responses) that arts education was better for children regardless of the respondent’s age, education, lack of attendance, children at home or income status. However, only 1/2 strongly felt arts had any value to adult lifelong learning. Those who attended most felt most strongly about the value. The difference might be caused by the same personal bias. Since most respondents were adults, they might feel it is better for the kids than for themselves.

The study is very interesting in its exploration of a number of other factors such as: quality of life (more educated, stronger agreement. Though in D.C. more income also had a correlation); pride in the community (higher income in Sarasota strongly agree, older folks in Boston strongly agree, but less than half of respondents in Austin strongly agree); preserves cultural heritage (majority, regardless of attendance, income, education, etc strongly agree); contributes to local economy (lowest percentage of strongly agree. Except in Sarasota, majority did not strongly agree.)

These results show that it may not be wise to make blanket assumptions about how segments of the local population view the arts. In some cases, you can’t even make assumptions about perceptions based on survey results from another city.

It is also interesting to note that the public doesn’t perceive an economic contribution of the arts. I have read a number of articles that felt the practice of discussing the arts in terms of their economic contributions would devalue the arts by positioning them as a tool for economic growth rather than a source of education, self-improvement, inspiration, etc. In most cases, the articles were referring to the way arts organizations present this information to funders, especially government bodies that allocate monies toward funding.

While I found myself agreeing with this idea, it occurs to me today that perhaps the problem is that we have been saying it too much to too few people. I quoted Ben Cameron last week where he listed economic contributions as a value of the arts that the public needed to have presented to it. Seeing the survey data, I wonder if the arts need to spread the word to the public and stop focusing the message strictly to funders. The stats have probably been chanted at legislators for so long they won’t endure as a justification of funding for too much longer. However, the community may not have been exposed to the discussion of economic value enough. The arts community may have put a lot of time and energy into communicating with too narrow a portion of of its constituency.

My Terrible Secret

by:

Joe Patti

After These Messages…

Before I reveal my terrible secret, I just wanted to direct readers’ attention to a piece by Richard Florida in which he refutes the criticisms of his Creative Class work.

Now Back to the Show

The terrible secret that I have been harboring is the fact I have never read any of Peter Drucker’s books. For those of you who don’t know who he is, it isn’t as great a sin as I make it out to be. Peter Drucker is probably one of the most respected authorities/writers on management, economics, and societial and political trends. As a person who purports to be exploring how arts managers can apply business trends to the non-profit world, it would probably be irresponsible of me not to have read some of his work.

Honestly, I have wanted to read his books and feel I am long overdue in doing so. Of what I have read of Mr. Drucker by those who admire him, he seems to be the real deal rather than the management theory flavor of the month. (He has been at it since at least 1950.) His work seems to have a degree of sincerity associated with it whereas many other management theories seem to be tinged with uncertainity and desperation. It is almost as if those systems work and people get paid a lot to write and talk about the theories, but no one is quite certain why it works and for how much longer it will.

Currently, I am reading his Managing for the Future. He has actually written a text specifically for non-profit management but they didn’t have it at the library branch I frequent. That will be the next book I read. I haven’t gotten through the entire book and I haven’t seen a lot that would be applicable to the non-profit world, but there was one area he wrote on that did start me thinking.

He speaks of companies in the same lines of work in different countries banding together. They are run independently of one another, but each one handles an area in which they have greater expertise and resources. One handles the manufacturing for both firms, the other does research, product development and marketing for both.

I have been pondering if the same could be true for non-profits. I don’t know if there is any value in international efforts outside of organizations located on the borders. There could be value in local or regional partnerships. In trying to think of divisions of labor, I came up against the insular and protective nature of non-profits that both I and Drew McManus have recently noted. Unless they engaged an outside company to handle marketing and development, I would imagine there would be accusations of staff bias in the areas of promotion and fund raising. Or else one would feel they deserved a larger chunk of the monies since their audience was larger and more affluent and they had more performances.

The Asolo Theatre Company and Sarasota Ballet have both occupied the same building and used the same stage since FSU moved their Film Conservatory back up to Tallahassee. They have completely separate staffs and neither of their webpages mentions the other exists, nor does the other appear on their “other arts links” pages. The separation isn’t as readily apparent in the building though. I was just there last month and unless you are watching very closely, you can’t tell when you are leaving the theatre’s part of the administrative floor and are entering the ballet’s.

They do share a box office staff and might share front of house staff. There is no indication that volunteering to usher for the theatre will include working for the ballet. The ballet does perform in other venues so they might need to recruit an usher corps of their own anyway. The ballet may get scenery via the Asolo Scenic Studios, but it isn’t mentioned as a client. They might share costuming resources as the wife of the ballet’s Marketing and Development Director is listed as a costume designer for the theatre. Considering the co-habitation arrangement was motivated by financial crisis, it is a pity there hasn’t been continued exploration of cooperative and money saving efforts.

The areas I could see non-profits pooling their resources or splitting functions between them would be in box office/front of house, accounting, human resource and benefit management, publications/web administration, set & costume design/construction, concessions, physical plant & grounds maintenance. Though organizations would want their own people performing, they might also be able to cooperate on booking outreach events and creating support materials. Cooperative efforts might not be possible in all these areas, but they are probably places in which there could be the least contention about how resources were allocated. Development and promotion would take far more trust and honesty.

If anyone knows of organizations that have a high level of cooperation or you have additional suggestions, I would be interested as always.