Making Time For Your Creativity Can Be The Hardest Part

by:

Joe Patti

While people still haven’t returned to the daily routines they may have had before Covid-19 brought a halt to so much of our lives, it might be worth encouraging people to continue cultivating whatever creative practices they may have engaged in during these times. Reinforce the value of whatever they became interested in as part of their lives. Chances are people are reconsidering what things they found fulfilling before and whether those things still hold value for them.

That said, there is always an investment of time and a learning curve involved with starting anything new. That can be a disincentive to continuing for people who are seeking the comfort of their earlier familiar lives.

It has been awhile since I linked to a cartoon from the Zen Pencils site. This one is excerpted from a page the cartoonist wrote about his own practice.

Long time readers know before I moved to my current position in Georgia, I lived in Ohio where I tried to infiltrate a Creative Cult, a group of people who provided the community with various hands-on creative experiences at different places around town. They are still up to their shenanigans and currently have people on a hunt around the community trying to find “eggs” that were stolen out of museum paintings.

Nick Sherman, a young gentleman who may or may not be the mysterious, yet dashing cult leader has a weekly newsletter which includes missives to him from the Creative Underground explaining all the ways in which the Man will try to convince him he isn’t creative or that he should be prioritizing other things over his creative pursuits.

For example, on May 1 the Creative Underground wrote:

This is what we mean. THE MAN starts by whispering in your ear something very obvious; that there is a time for art-making, and there is a time not for art-making. A harmless statement right? Wrong! THE MAN never stops where he should. He then goes on to cleverly suggest that, “If you are doing your art, you must be neglecting something else.” Do you see his trap?

Then because you want to be a responsible, upstanding, person you think, “Of course! I do not see my little old grandmother nearly enough.” You go see her. And in this way, THE MAN keeps bringing up distraction after distraction (even legitimate ones!) that keep you from your art. Something always comes up. Soon, your brain makes a very dangerous and direct comparison. It flashes like a bright-red neon sign against the darkest corner of your brain. “ART = SELFISH”

In this way, Nick anthropomorphizes all those insecurities and doubts everyone has about their creative practice. Granted, sometimes there are actually people in our lives who are more than happy to give voice to these sentiments and there is no need to provide them with a metaphoric form.

You can subscribe to Nick’s newsletter here if you have an interest.

Putting Some O’ That Theory Into Practice

by:

Joe Patti

I arrived in my office last Friday to find a heck of a lot more emails in my Inbox than I am used to. It turned out the evening before the governor had announced a change of guidelines that would allow performing arts organizations to open after July 1 and people immediately started scrambling trying to ascertain what it all meant.  Ultimately, nothing the new order contained deviated from our expectations by much at all in terms of how it would impact seating capacity or operational practices. We were on a Zoom call with the county attorney today and he had nothing surprising to say in his reading of the order, but it was good to have our understanding confirmed.

Like me, you may have heard that Texas’ governor had issued guidance on performing arts centers last week.  However, I was surprised to learn that Ruth Eckerd Hall in Clearwater, FL was having concerts last week. I hadn’t heard that things had opened that far in any other state.

The performances in Clearwater were in their lobby in a cabaret type setting  with attendance capped at 80 people. It looks like the three shows on June 11 sold out quickly and the added shows on June 14,  19 & 25 sold out as well. I was wondering if there are any readers in Florida who may have attended who could talk about the show and what their experience was. I see from an article on the show there were some screening procedures and people were seated at a social distance.

Fans were offered face masks at the gate, temperature-checked upon entry, and delivered drinks and snacks by servers in gloves and black masks. They sat in groups of four or fewer, and for the most part, only got up to hit the head.

The venue is also communicating their safety policies in the events scheduled this month which include the following.

– Venue staff will be wearing face masks; we encourage patrons to do the same. Face masks are available at the door upon request.
– Hand sanitizer stations are readily available. If you are in need of an attendant with cleaning supplies, please ask the wait staff.
– Table selection is on a first-come/first-served basis. We ask that you not change tables once you are seated.
– We encourage remaining at your table during the show. If you wish to stand, you will be asked to move behind the seated area and maintain social distancing.
– All food and beverage service will be table-side. There will be no walk-up service available.
– If you suspect you are ill or reside with someone who is ill with flu-like symptoms, we ask you to exchange for a future show.
– While we are committed to providing a clean and safe environment, it is impossible to eliminate all health risk in any location so please use discretion.

This seems a good example upon which to base your own venue communications as you start to open so that you don’t have to invent it all from scratch.

How Do Arts Administrator Practice To Get Better?

by:

Joe Patti

Sometimes a good headline is all it takes. When I saw a link to a New Yorker piece about “Bassoonfluencers,” I knew I had to at least take a look.

It turned out to be an article about a woman who posts her daily bassoon practice sessions on Instagram. She was inspired by violinist Hillary Hahn’s online posting of 100 days of her own practice regimen. The bassoonist, Morgan Davison, feels that being accountable to her followers to make a daily posting helps keep her motivated and evaluating the quality of her recordings has kept her on a path to improvement.

Readers may recall I made a post back in January about Hillary Hahn’s use of daydreaming as part of her practice routine.

I have long been interested in the process of practice and improvement so the article about Davison and other musicians using social media as part of their practice intrigues me.

On the other hand, it isn’t exactly a new idea for me. I have long felt writing this blog and having an accountability to my readers aids my effort to be a better arts administrator. The need to seek out new material to write about keeps me abreast of all sorts of developments in policy, theory, and practice. Additionally, it helps me perceive connections that wouldn’t seemingly intersect with arts and culture.

I would be interested to know if anyone else has a practice they feel improves their proficiency as an arts administrator.  Performers have long used recordings as a way to reflect upon and improve themselves. Posting those sessions on social media is only the newest manifestation of that.

Except for reading, going to conferences and networking, I am not sure if arts administration has had a similar tool to use. These things don’t provide for easy reflective assessment. Keeping a journal might be the best method.  It might be that there hasn’t been a perceived need for self-improvement in arts administration, but the challenges and speed of change over the last 20 years or so have revealed a need for it.

Teamwork? We Got Tons

by:

Joe Patti

I read stories celebrating the fact that Covid-19 is finally making businesses recognize the benefits of telecommuting, confident that there will be this great revolution that will see people working from home in the future. To me it seems like it will be a terrible situation which will create greater class divides and income inequality.

I don’t think it takes a great deal of imagination to see how telecommuting will enable companies to more easily classify workers as independent contractors and not provide any health benefits. Because employees won’t be seeing and interacting with each other on a regular basis where they can compare notes about wages, work loads and other expectations, it will make it easier to underpay employees and prevent them from organizing to demand better pay.

Already employees are subsidizing the companies they work for by bearing the cost of electricity and internet connections. I know at least one person who is paying for her own mobile hotspot in order to do her job because the internet speed in her location is not fast enough.

Yes, it may provide greater work opportunities to people living in rural areas and may even improve the economies of some rural places as people move there, but again those places will need to have good technology infrastructure in place to support those workers. And not everyone will have the resources to move to places with a lower cost of living, nor will the potential pay for the work they are qualified to do justify the move.

Which is not to say the current work environment is any more beneficial. I just feel that except for people with higher status jobs, a move to telecommuting is potentially a worse situation unless accompanied by some strong worker protections, especially in regard to health insurance.

But the intent of this blog post isn’t really to get into a debate about socio-political-economic policy as much as it is to provide a context for potentially the biggest drawback of telecommuting — a degradation of creative interaction and teamwork.

Steve Jobs famously designed Pixar’s offices so all the restrooms and mailboxes were in a central location so that people working in disparate departments and projects would engage in casual “what are you working on?” conversations they wouldn’t otherwise have. His hope was that this would drive innovation and result in creative leaps.

Today on the CNN site there was an article titled “Minneapolis theater community uses stagecraft skills to support businesses of color in the aftermath of protests” One of the people interviewed made what is probably a very familiar comment to many of you:

“For anyone who has arts training, they are taught early on how to collaborate with people. And that collaboration comes with the ability to quickly organize and problem-solve,” said University Rebuild organizer Daisuke Kawachi, who pointed out the valuable stagecraft skills volunteers are now applying to their community.

And as with Pixar, physical proximity makes others more aware of resources than they might have normally been:

Kawachi estimated University Rebuild has supported more than 200 businesses. He said the number could be higher, because some requests have come on the spot while volunteers are in the field.
“We’ll go to a business and then their neighbor will say ‘come over.'”

Because we are steeped in the culture, a lot of us take a collaborative team environment for granted. As much as businesses have been saying that creativity is one of the top things they look for in employees, if telecommuting becomes widespread, collaboration and teamwork may become a greater competitive advantage as well.