Top Of Your Pyramid Is The Bottom Of Someone Else’s

by:

Joe Patti

Hat tip to Vu Le at NonProfitAF for posting a link on social media to an essay on Medium comparing Maslow’s Hierarchy of Need to the Blackfeet Nation’s similar concept.  Maslow had lived among the Blackfeet in Alberta, Canada for six weeks when he was developing his theories. If you read the article the question of whether he appropriated the concept without crediting the Blackfeet is a complicated one.

What immediately appealed to me was the point that while Maslow’s hierarchy ends with self-actualization, that is where the Blackfeet model begins.  To a great degree it is the difference between an individually focused society and a communal one. The assumption seems to be that the community will provide the food, shelter, clothing and safety needs that provide the base of Maslow’s model and therefore you start life working on the self-actualization part and then one moves on to contributing to the welfare and perpetuity of the culture.

The Blackfoot model describes the inverse of Maslow’s Hierarchy:

1. Self-actualization. Where Maslow’s hierarchy ends with self-actualization, the Blackfoot model begins here. In their view, we are each born into the world as a spark of divinity, with a great purpose embedded in us. That means that we arrive on earth self-actualized.
[..]

4. Community Actualization. In tending to our basic needs and safety, the tribe equips us to manifest our sacred purpose, designing a model of education that supports us in expressing our gifts. Community actualization describes the Blackfoot goal that each member of the tribe manifest their purpose and have their basic needs met.
5. Cultural Perpetuity. Each member of the tribe will one day be gone. So passing on their knowledge of how to achieve community actualization and harmony with the land and other peoples gives rise to an endurance of the Blackfoot way of life, or cultural perpetuity.

The big reason this appealed to me is that it aligns with a post I wrote last May, Creativity Is Not The Last Thing People Need

As I wrote then:

It should be noted that despite the popularity of this model, there is no scientific data to back it and studies have found that different cultures prioritize needs differently.

I mention these criticisms of Maslow’s hierarchy because it is easy to look at this pyramid and get the impression that creativity has to wait until all these other needs are met. This reinforces the idea that arts and culture are a luxury that should yield before all the necessities have been addressed. I think we all know there will always be something else that needs to be solved if you subscribe to that thinking.

When I wrote that post, I had linked to the Wikipedia article on Maslow’s hierarchy which notes the Blackfeet influence but I didn’t know enough about it at the time to understand the differences in world view to apply it.  I certainly can’t make any definitive statements about how expressions of creativity might be viewed and valued in a Blackfeet society, but from the little bit that discussed in the Medium article it seems it would be viewed as more integral to everyone’s basic identity and capacity vs. a gift bestowed/possessed by a chosen few.

Cross-Discipline Pollination For Post-Covid Arts

by:

Joe Patti

Following the link tweeted by Ava Wong Davies got me to a lengthy blog post by Tim X. Atack about things that need to change in theatre post-Covid.  I will initially engaged by his insistence that the arts needs to stop citing the economic value of the arts when arguing why they need to be supported. As long time readers know, I am very much in agreement with this sentiment.

…there’s a growing feeling that over a year later, the driving focus is to get back to business as it was before the pandemic – maybe, even, to take steps backwards.

That feeling’s compounded by hearing, over and over, industry leaders using the language of our oppressors as justification for business as usual. I’m so so tired of the assertion that The Arts need to be protected because ‘they give five pounds back for every pound put in,’ like some Gordon Gecko hokey cokey. It might be true, but the people we’re making this upward argument to simply Do. Not. Fucking. Care. There are easier ways to make profit, without the messy business of creating art that makes you think about things and feel stuff.

And worse, when the bottom line becomes the principle reason work is made, defaults rule. The idea of art being life-changing or surprising or transformative actually becomes a threat when the main thing you want to do is keep an existing base happy. Theatre stops being alive and becomes transactional. Experiences become about promises made in return for money, rather than invitations to be part of something new, or bigger. Even political plays stop being political and become ‘about the politics’ instead, worthy but inert, leading nowhere.

Atack also broaches a subject I have been less enthusiastic about as a post-Covid reality, the digitization of the live performance experience. He argues from the perspective of the need for cross-disciplinary competency which makes the necessity feel less objectionable to me. (Though even an introvert like myself thinks the spark of having a live interaction with another over a shared experience is irreplaceable.)

At the start of lockdown I heard one artistic director say their theatre was ‘not about to become a film production studio’. But in truth, those kind of skills and cross-disciplinary thinking were shown to be desperately needed the very second theatres started uploading what felt like 1 million appallingly made films…

[…]

… All told, we might not want our theatres to entirely become film studios. But if we don’t regularly allow film-makers, and artists of other disciplines, into our theatre culture on progressive and free-thinking terms, to cross-pollinate and diversify the form, if we don’t modernise our concept of a theatre career, when the next virus comes we might as well just shut up shop and walk away.

As I said, his entry is a good length has has many other thoughts about the dynamics of the arts industry post-Covid so it may be worth taking a read to see if anything he says stimulates some thoughts for you as well.

Things Getting Better For Virtually Singing Together

by:

Joe Patti

An article on FastCompany recently caught my eye that suggests a company in Sweden is helping to solve a big problem in collaborative virtual concerts. One of the big impediments has been getting music and vocals coming in from different video/audio streams synchronized.

The article quotes San Francisco Opera general manager, Matthew Shilvock, who says his organization has been using the tool called Aloha, which marries low latency technology with now very familiar video chat interfaces:

It allows a singer and a pianist to essentially be in the digital space together making real-time music—which is just transformational for us,” Shilvock tells Fast Company. “A pianist can now hear a singer breathe, and that may sound very basic, but those breath cues are the things that allow the pianist to really mold their sounds to what the singer is doing.”

“To see the emotional reaction of a pianist [who is] now finally able to hear those cues is just amazing,” he adds.

While the software is still in beta, some music schools in Sweden have been using the technology for classes since last Fall. Even if everything goes back to full in person performances that existed before, tools like this might expand the window of rehearsal periods and cut down on the travel and housing expenses previously associated with live productions.

Little Pushback On Writers of Job Ads

by:

Joe Patti

Last week I saw this tweet from Aksana Khan stating that England based Arts Emergency, where she works, often asks employers to rewrite their job listings before they will forward the ad onward. Out of the zillion articles written to help job seekers write better resumes, this may be one of two or three pieces I have ever seen telling employers they need to do better. The full article found on Arts Emergency’s site is the first I have seen that suggests they will flat out refuse to distribute an ad if it isn’t up to standard.

In the last year or two there has definitely been a big push especially among employees in the non-profit industry to call out organizations who aren’t listing a concrete salary range, but Arts Emergency is asking much more.

Khan writes: “We refuse to green light bad ads because young people deserve better. The only reason why barriers exist is because gatekeepers don’t accommodate a young person’s needs and situation.”

In addition to asking employers to state the salary, they also ask that the listing is clear about location, possibility for working remotely, Covid related measures, expected hours, availability of pastoral care, what expenses may be covered.

What was most amusing to me were tips that sounded very much like those given to job seekers creating resumes:

•Use bullet points. Some sentences are abominably long. They start in England and end up in Australia when they finally get to the point. Bullet points make your ad easier to digest for those who are neurodivergent.
•Be conversational! It’s refreshing compared to the usual long, jargon-y sentences written in a passive tone. Job adverts give an insight into your work culture. If your language isn’t easy to understand, good luck with your diversity policy.

Other suggestions in this section included offering alternatives to cover letters and resume as applications like video and audio formats. And providing a link to the website so the candidate can get a better sense of what the organization does.

There is also a section on terms to avoid which brings up some issues to consider:

Don’t say your ideal candidate:

“is energetic.” It implies you’re looking for a younger candidate and it’s ableist because some people have health conditions which prevent them from being “bouncier”.
“is mature.” It feeds into an idea that you need to be a certain age to be a team leader or manager.
“is a digital native.” It’s a horribly colonialist, ageist label which ignores the reality of digital poverty.
“must have a degree.” It’s lazy to put this in your personal specification if you don’t explain what skills you’d like from candidates.
“must have a driving license”. … Some people have medical conditions which means they can’t drive. And not everyone can afford the lessons, the car, and maintaining one. You must add a sentence on why it’s “essential”.
“must have [insert number] of years of experience in XYZ industry.” This creates a self-fulfilling prophecy on the lack of diversity in creative fields. Those who are working-class and/or people of colour are less likely to accrue paid experience compared to a white middle-class individual.