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More Manufacturing Your Worst Enemy

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As the title of the entry implies, I did a little more digging on the subject I covered in my last entry. The author of the story I originally quoted, Kaihan Krippendorff, mentioned that he would be writing about his interview with ePrize founder, Josh Linkner, over the course of a week so I sought out the other entries. In one of the entries, Krippendorff links to the audio of his interview.

There were a couple things of note. First was a promotional service (starting around 23:00) he designed to be affordable and accessible to the owner of “Jimmy’s Pizza Shop.” ePrize’s clients essentially pool their money in order to syndicate participation in the pool drawing of promotional prizes. Presumably, you can’t promise a Ford truck if you aren’t investing as much money as Coke does (or maybe you can, I won’t make any claim of being an expert on the business model.) The small business owner can log on and guided by a web based program, design their own promotion in about 15 minutes and have it immediately go live. The drawing is legal in all 50 states, Canada, Mexico and the United Kingdom.

If it is as easy as Linkner says, this could be a great resource for arts organizations. You could offer subscriber and employee rewards and perhaps even show related promotions.

Back on the topic of their invented rival, Slither, Linkner verifies that my suspicion of Krippendorff taking poetic license was completely unfounded. Slither did indeed “invade” the company to commit sabotage and espionage (starts around 33:00).

There were some things said in the interview which expound on the concept of how useful an invented enemy can be to a business. One benefit to corporate culture Linkner cites is that it allows open conversation that can circumvent office politics. Normally, he says, one might be hesitant to suggest that a policy is flawed for fear they will insult the person who created it. In a meeting Linkner says he may ask how Slither approaches a problem or to talk about the one thing a Slither counterpart does better than him/her. This allows conversations about weak spots in the organization’s processes and policies and how to improve rather than criticizing something specifically and marking it for elimination.

Manufacturing Your Worst Enemy

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I was reading on Fast Company about a company called ePrize that didn’t have a sufficiently large competitor so they created one to keep themselves innovative. ePrize created a company called Slither complete with logo, an industrial espionage group and history of competitive campaigns. (Though I am not sure about the latter two. That may have been the writer taking poetic license on ePrize’s poetic license.)

By asking its employees what they think their counterpart at Slither would do differently, Linker says ePrize “creates a fun, safe opening for continual discussion about what the company could do better.”

Ask yourself these three questions to see if a threat can unblock your business’ innovations.

1. Who or what is our worst enemy?
2. What is our enemy doing that we can do better?
3. Can we create an enemy to spark new ideas?

Arts organizations have no lack of competition of every shape and size so they have no need of creating an entity for that purpose. I was thinking that perhaps creating an imaginary competitor might be helpful in removing emotional elements which may present an impediment to objectively approaching problems and generating solutions. As I noted a year ago, there is a lot of emotion investment by those working in the arts.

In my personal experience, there is often a lot of envy for our arts neighbors: The other guys are favored yet undeserving of the grants they receive. The other guys are the darlings of the community. The community will give lots of money to save the darling from their missteps but don’t give us a second look. The other guys are bloated, arrogant and outdated; we are lean, innovative and the wave of the future.

In some places this attitude is more prevalent, other places it is less.

By creating an imaginary enemy, you can concentrate on responding to events without the emotional subtext lurking beneath the conversations. Yes, there are plenty of groups out there eating your lunch, but your biggest problem is The House of Extraordinary Matinee idols. (THEM) Your fictional enemy, THEM, noting the trend of sold out shows has decided to program seasons of 100% musicals. How do you position your next season in relation to this imagined challenge?

The fictional enemy doesn’t have to be a proxy for an actual rival in the community, it just has to present a credible challenge to your organization in order to spur innovation and creative thinking. I will confess there are three local organizations that do musicals 100% and others that include a couple in their seasons. I don’t see them as a direct threat to my audiences as I am annoyed by the fact they are essentially forced by the dearth of commercially viable musicals to mount a show another has done a year or so later. It drives me crazy to see the same titles coming around again. (One recently had to promote their production of High School Musical as the first community theatre production in the state because at least nine schools in the county have mounted it in the last three years. Last February & March, three schools performed it in the course of two weeks.) I frankly feel less agitated and more rational when I think of how I would approach the problem of the disembodied THEM.

Now as I said, I don’t see these groups as a direct threat to me. Other than being philosophically offended when I see their advertising, on the whole I don’t have any ill-feelings for them. I rail about the lack of diversity in local offerings for 5 minutes, mostly to entertain myself, and then get on with my day. There are others groups and factors I see as more direct competition. I don’t really harbor any ill will for them either. However, if I were going to design a hypothetical competitor, one of the things it would probably do is produce all musicals all the time. This is because it would have the characteristic of being a popular draw competing for people’s free time and disposable income but not have more elements in common with those I perceive more directly as rivals. Making the fiction resemble reality too closely might impede my ability to stay dispassionate.

Give it a try as an intellectual exercise. Think of a hypothetical entity with characteristics that might challenge you and decide how you would respond. When you have completed your thought process, think back and see if you actually acted that way in a similar situation. I will admit, hypotheticals can only help you so far. It is one thing to talk about how you would handle an irate customer and then discover how you really react in that situation.

In a sense though, what I am suggesting is a sort of reverse engineering where you reflect on the challenges you have faced with the emotion removed. That is why you need a fictitious opponent. When you engage in hindsight, you bring the emotional memory of what happened into your decision making process. Analyzing a situation in terms of “when he said X, I wish I had responded with Y,” can involve anger, resentment and self-recrimination. Also well phrased retorts, while satisfying, don’t solve the larger problem. Coming to the realization that your policies appear inconsistent to a hypothetical segment of your patrons can lead to communicating the policy differently or scrapping it altogether.

Theatre of the Future Gives Me Ulcers

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I happened upon the YouTube video below by Imagination Stage. I surmised that it was part of a contest of sorts held by Theatre Communications Group for organizations to make a video about the future because it is organized in the TCG YouTube account and most of the videos seem to deal with the future of theatre. Also, I have a vague recollection about the contest being listed somewhere.

At first I was a little depressed by the world they portrayed. Then I realized they probably have a pretty accurate view of how things will be. The opening where the girl is getting poor grades, most likely because she is involved in theatre, is actually pretty comforting because it show that some things won’t change.

At first I was a little put off by the idea that she was learning acting from a hologram, especially given that the hologram was pretty over the top. Of course, I figured holograms and virtual reality would be part of the future of theatre back when I started the blog. On the whole, I thought the video was well done and the details of the user interface they portrayed was spot on.

For a moment I was also a little turned off by the idea that acting instruction was structured as a video game with levels to advance through that people would try to gain shortcut cheats through.

Then I thought, we should be so lucky to have people that invested!

I was also heartened by the fact the young woman in the video wouldn’t even consider giving her friend a shortcut hint. There are no shortcuts to hard work, after all.

What disturbed me the most though was the concept that a production would be subject to the caprice of whether talented people chose to log in or not and doing so at the last minute. The video shows the young woman manifesting in a theatre and the director saying they hoped she would log on, tossing out an auditioner who was less qualified for some reason. I assumed she hadn’t obtained enough points/levels. Then the young woman rehearses as a hologram opposite live people and performs as Juliet at the opening the next night.

As I acknowledged though, it isn’t outside the realm of possibility. If audiences are waiting until the last moment to buy tickets, could not artists delay the decision about which production they wanted to be involved with until the last minute? If performers have the ability to manifest themselves as holograms in 2028, opportunities become available across the entire country and perhaps the world.

As long as there are more actors than roles, then there will always be competition. But then competition for elite performers also becomes extreme. Get great reviews for your performance as King Lear in Madison, WI one night, you could receive an offer to play Lear in Hong Kong the next night and actually be able to do it. What worries me is the ulcer inducing environment this will create for arts managers.

But damn, wouldn’t bring a real sense of excitement and unpredictability to the arts. The most notable companies won’t be those who can maintain a stable cast, it will be those who can produce a consistently high quality product regardless of the vagaries of the cast.

Prepare for Feast in Famine

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As much as I talk about what a bad turn things have taken of late, I do want to advocate cautious optimism unless you are in immediate danger of closing your doors. This may be a period of retrenchment and delaying activities, but it probably is not good to abandon long term plans entirely.

For one thing, your supporters may be more optimistic and energetic than you give them credit for. As you may remember, I am providing feedback on the design and construction of a performing arts center in Bellevue, WA. Within weeks of our group site visit, everything really went to hell on Wall Street with Lehman Brothers and many banks failing in the space of a week or two. I was praying that the finances of those who supported the performing arts center construction weren’t too entangled in these troubles. My fear was that the next email we got from the arts center administration was that they decided to scale back given the financial woes.

I was quite pleased when the next email brought news that everyone was excited by suggestions that came out of the site visit and that the plans were getting a little more ambitious. Around the same time, the local Indian community, undeterred by the emerging economic problems announced their intent to raise $1 million and were already $400,000 along. Last month, another support group held a benefit that raised $450,000. Given that the same event in 2007 raised $320,000, staying ambitious and optimistic in a faltering economy seems to have yielded some results.

Now I don’t expect everyone will realize a $130,000 gain by thinking positive. I am sure a lot of ground work was required over the intervening year to realize that sort of success. It’s the ground work, relationship building and planning that you can’t allow to falter if you decide to put activities on hold. In my theatre we are planning for a renovation. We know the renovation is going to be further off than it was last year but we are still moving ahead assessing the work that needs to be done. When things turn around and money becomes available, we want to be ready with a plan. Not having a plan at the time might mean getting passed over for another budget cycle or two.

Even if you aren’t building something physical, you can use the time to meet key decision makers to gauge what their agendas are so you can make effective proposals when they are more open to receiving them. It is also the time to research and learn new theories related to your long term plans. True, arts leaders have little time to engage in research as it is. The necessity of putting action on hold allows you to research periodically over a longer interval than trying to cram it into a short gap before implementation. Or even worse, neglecting to be up on current practices and theories while executing a program.

Certainly tough times bring their own problems which displace our ability to engage in any of these practices. Yet, we do have the ability to be constructive even as we may choose to defer construction.

NB-Since this entry first appeared, I have corrected my math 😛

The Lipinski Stradivarius Is Coming To Town

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…Oh and it is bringing Frank Almond with it.

I have been hearing ads and stories about a performance in which Frank Almond will participate shortly. However, they all lead in by talking about the violin. The story goes on to talk about the sponsoring organization and then Frank’s interview is at the latter third.

It is always important to work with high quality tools but usually it is the musician that lends cachet to the instrument, not the other way around. You want the guitar Jimi Hendrix played or one that Pete Townshend smashed. But with classical stringed instruments, especially the violins, it is the other way around.

The presence of the violin eclipses the musician. Because a superlative instrument needs an excellent player, Frank Almond is elevated to the plane of the lone cowboy who can tame the wild stallion or the only pilot with the skills to keep the experimental airplane under control. In this context I begin to imagine the grisly deaths of second chair violinists when the first chair’s concentration flags for a moment and the bow is torn from their hands. Or violinists decapitated by a snapping string when the instrument decides the musician is not worthy of it. With such power imbued in it, it is any wonder the devil has chosen a fiddle as his instrument?

Okay, so maybe my imagination is more vivid than most. But in the interview with Frank I heard today, he as much admits he is servant to the music and the instrument. “When it is working, it is great fun. Practice makes perfect,” he replies to the observation that it must be fun to play all the double stops in the Bruch Violin Concerto.

From a butts in the seats perspective, it is amazing to me that a well crafted piece of wood can command the attendance of so many. I will be the first to admit that the storied past of the instrument of which Frank is merely one of a series of custodians is quite exciting and engaging

Must Remember: Innovative, Not Creative

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I have been over at Artsjournal.com reading the entries in the Arts Education discussion. The entry that gave me most pause was one by Eric Booth today where he notes,

“people in business have asked me if we can just stop using the word “art” because they stop listening. They then confessed they are not really interested in the word “creativity” either–they kind of glaze over–they like the word “innovation” because it is the product that they really care about, getting new business-ready products as a competitive advantage.”

A Rose By Any Other Name Is Just As Fluffy
This is not something you want to hear if these same business people are the ones involved in the philanthropy decisions for companies. Booth makes some interesting points answering comments in that entry which expound on this idea. He says business people feel creativity is a “fog-sculpting word that fluffy artsy people use.” They prefer innovation because that is the result they seek. They see creativity as being on the path to innovation and they will tolerate the use of the word as long as we can trace the path for them.

I couldn’t help thinking that innovation is easily as nebulous a word and only derives its power from the fact they repeat it back and forth to each other. Recall these are the people who were tossing “synergy” around as a desired outcome a few years ago.

Direct and Indirect Arts Encounters
As I was reading the multiple entries on arts education, I was reminded of a locally produced show on the public radio station I heard early last month on the topic of technology use in the classroom. Now there are many options for including art in a student’s experience from a direct experience with a performance or having the students perform/create themselves. On the other end of the spectrum is including art in instruction of other subjects. Making those hand shaped turkeys while teaching about the first Thanksgivings, for example.

Focus on the Objectives, Not the Tools
What I saw as applicable from the radio show about using technology in the classroom is on the latter end of the spectrum. The people on the show talked about the importance of focusing on the learning and not the device. One of the guests who is involved with a local foundation said that they wouldn’t provide grant money for a project seeking to use cell phones in the classroom because the focus was on the technology rather than the learning. The example he gave of what they would be interested in supporting was a program that focused on how students learn and how to develop critical thinking skills. If the teachers decided to have students collect and record information as part of this process and realized that one of the best methods available would be by having students utilize cellphones since they always had them handy as they go through their day, the foundation would be interested in funding this sort of endeavor.

Given that I am in the business of offering live performances, my first vote is always going to be for live interactive experiences with art. Watching or participating in some sort of activity is my first choice when it comes to arts education for any demographic or age group. You will never achieve any real aptitude either in understanding or execution if your interactions with art is slipped in between the pages of some other subject. You may develop appreciation, comfort and familiarity which these days is not to be discounted. But I want people able to enjoy interactions with art.

Wherein I Contradict What I Just Said
Now all that being said, I am going to do a little reversal. What seemed to be the core of the discussion regarding technology in the classroom was the idea that you shouldn’t define what you need to be doing in the context of popular technologies, rather how the technology can facilitate what you really need to be doing. That is my basic point when I suggest people not jump on adopting every new technology that becomes vogue. I think there may be some validity in taking this approach when advocating for arts education.

Arts Prescriptions
Right now a lot of the arts education is promoted along the philosophy of “You must have Mozart or you brain will atrophy.” This is the case made for in utero exposure as well as arguing music will raise math and science grades. The prescriptive approach to arts advocacy doesn’t really benefit us in the long run. Saying that you have to integrate cellphones into classroom instruction is much the same approach. You don’t need to use cellphones, you need to teach critical thinking and the cellphones are a tool. You can use the arts to teach critical thinking. Heck, the arts don’t exist in a vacuum today and they certainly didn’t in the past. The subject can be used to teach literature, history, politics, etc,. I did well in history, but I would have been all the more interested had I learned that someone commissioned a work to tweak the nose of an enemy or rival.

I will admit I haven’t had a lot of experience seeing it implemented, but whenever I hear people talk about integrated curriculum whether it includes arts or not, it sounds so clunky and unwieldy. The way it is described sounds very prescriptive and evokes an image of alternative subject matter inserted in a textbook on handwritten sheets of looseleaf because an administrator decided that this was the new way it was going to be taught. I am sure there are very successful programs out there on which to model an approach but I am entirely unaware of them.

Everyone Is Happier With Shoes That Fit Well
What the arts have to do is convince educators and decision makers who aren’t familiar with our disciplines that their instruction does not necessarily have to be defined by a need to shoehorn the arts in but rather that the arts can be a tool that integrates smoothly into achieving their objectives.

Of course, if you see an opening to champion direct arts instruction and after school activities, push, push, push for that!

What A Great Show. Please Pass the Pumpkin Pie

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I tell you, there is nothing better for your digestion on Thanksgiving Day, nothing better at waking you up from a carb induced doze, than someone praising your last show and insisting people go see one of your upcoming performances. That’s what happened this past Thursday. I was having dinner at the house of a friend who has no connection to the performing arts at all. One of her guests, clearly intelligent and possessed of good taste, praised the most recent performance and then went on to talk about how excited he was that a particular artist was scheduled in the next couple months and that everyone should go see her.

While this gentleman was talking about how exciting the most recent show was, I had a reaction very similar to one that Inside the Arts neighbor Holly Mulcahy describes in a Partial Observer post today. In her second point, she talks about the importance of not allowing our hyper-awareness and intimacy with a performance get in our way of accepting a compliment.

As we are wont to do, my staff and I talked over the strengths and weaknesses of the performance casting a pretty critical eye on the production. While I was happy that the dinner guest hadn’t noticed any of these things, I was a little disappointed that he was focusing on the spectacle and not really talking about the actor performances or at least things about each character that resonated with him. I tried to steer the conversation in that direction a couple times but what I really wanted to do is throttle him while screaming “Stop talking about the spectacle!!!”

Now I have to admit, achieving the spectacle took a lot of hard work and those who executed it deserve a lot of praise. I have absolutely no problem with people noticing and complimenting the beauty of the set and lighting design since those folks rarely get enough recognition. The performed spectacle occurred just a few times in the production so it didn’t overwhelm or really define the show. But that is what impressed him most. That is what he remembered best. That is what he talked about.

But as Andrew Taylor notes in a talk posted on his blog today (around minute 20), the producers of an experience don’t get the final say in how the experience is processed. Something happened that was meaningful for him. And he had it in my venue which is a small victory for both of us since my preference is for people to be here than elsewhere. Despite all the flaws we may have seen with the show, I knew that overall we offered a quality product to our audiences and there was ultimately no shame to be associated with the show.

I really didn’t have any problem accepting the compliment. I am sure the delicious pumpkin bread helped make it taste all the sweeter. My comment about choking him was a bit of hyperbole, especially since I probably would have knocked over the gravy. I don’t think there is anything wrong with wanting your audiences to speak a little more confidently after every visit and it is part of our job to help them get there.

Out Damn Robot!

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First it was cars and real estate, now the Japanese are making a move on our arts industry! Back in April, I wrote about the Honda robot</at that conducted the Detroit Symphony.

Now Mitsubishi is attempting to build a better actor. Actually, Mitsubishi built the robot. Osaka University developed the software to allow the robot to interact with others on stage.

According to the BBC article, “In the play, the robot complains that it has been forced into boring and demeaning jobs…”

Sounds to me like the robot has already immersed itself in the daily life of an actor.

I guess Futurama had it right and one day we will be treated to performances by the likes of Calculon.

Art Is Cake

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Thinking Big Thoughts
We were closing a production this past week so I was occupied with that project and didn’t have too much time to create entries. However, as I wandered through the lobby between acts, I did have time to ponder various subjects. One of the things I thought about was issue of arts as a way of cultivating various goals within community vs. arts as a profit making venture. I am constantly thinking about issues related to whether arts organizations should exist in their current form, the type of fare they should be offering, what philosophies they should be embracing in an age of technology and a whole host of related ideas.

That is a pretty big concept to tackle, thus my note in yesterday’s entry that I didn’t think I could and meet my obligations last evening. I continued thinking about it today while catching up on the blogs whose feeds to which I subscribe.

It turns out that Don Hall and Adam Thurman both addressed this topic two weeks ago. I won’t reiterate what they and the commenters discussed at length.

Well, except for one person.

Too Much Cake
The point made by Nick Keenan really summed up the problem we face. You can argue judgments about art are a result of snobbery and relativist visions of quality and I think it is important for these conversations to continue. But to me Nick seems have cut right to the heart of why the environment is unsustainable.

Here’s the problem: On an industry-wide scale, equating popularity with quality is a dangerous game. It fuels volatility and kills innovation, which can often lead to a lack of flexibility in the industry…

To put our playing field another way, the Jukebox musicals and reality-TV-fed downtown spectaculars may be wildly popular, but they are like Cake and Frosting. Eat too much of them, and our patrons will get a stomach ache and associate that stomach ache with the theater. We need to serve people a well-balanced meal as well as the meal that they want to buy. To me, that means innovation as entertainment, rather than fluff as entertainment. They are not generating new artists and new forms that will lead to connecting with new audiences. The R&D for that new audience solution is being done in our storefront theaters, but especially the largest theaters in our community (Broadway in Chicago) are foregoing a great deal of commitment to this R&D so that they can focus on profits.

Nick makes no claims that the storefront theatres are creating works that are more or less worthy to be called art than the product presented by the large spectaculars. He points out where the investments in the future are being made which to me is a good rational for supporting those places.

Constructive Use of Free Time
One observation I wanted to make that no one really preempted was that despite how broken (and increasingly going broke) the existing system of funding the arts is, it seems to me that since about the beginning of the 20th century the arts world has been given the breathing space to discuss these issues on a large scale.

This may be news to those actors, musicians and visual artists who are waiting tables, watching kids and working as customer service reps at insurance companies for as their first through third jobs in order to support their creative activities.

Artists may have always complained about audiences having low tastes since the Greeks but they were still beholden to patrons, be they aristocracy or townspeople gathering around their wagons and in town squares to earn their living. They had to performed what was valued to survive.

It wasn’t until relatively recently in the last century or so that those who were doing the performing (as opposed to scholars) had an opportunity and breathing room to stay in one place long enough to ponder and discuss these things among themselves and begin to comment and theorize on the state of things as a group. The Internet has merely closed the geographic gaps and allowed the conversation to become more widespread.

This freedom and flexibility was funded by Carnegie, Rockefeller and the Ford Foundation. But the model they helped introduce doesn’t seem to be viable any longer. The next model may manifest itself out of the conversations these entities enabled. It is important to cultivate and participate in them.

Preparation for Conservation on Arts Education

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The topic I was going to blog on today got me thinking so much I don’t think I can coalesce my thoughts and attend to the obligations I have this evening.

I did want to mention, if you haven’t noticed that next week Artsjournal.com is hosting a debate on arts education. Being a once and hopefully future educator, I believe in preparing for discussions. In addition to pondering the issues which face the arts in relation to education while indolently laying about after Thanksgiving dinner (or industriously scrubbing the dishes.) You may also want to prepare by reading arts education blogs like Richard Kessler’s. He will be participating in the debate next week.

I also suggest my Inside the Arts neighbor Ron Spigelman’s Audience Connection’s class podcasts. Education of artists is part of arts education and the podcasts are a primary source for the questions students are being asked and are asking. Don’t be put off by the number of podcasts listed. Each one is only about 4-5 minutes long. In fact, it it is better to experience them in the context of the original entries which are here.

I always find these conversations Artsjournal hosts to be engaging and thought provoking. Between the number of people generating entries and those commenting, there is a lot going on daily. Make some time to read every day otherwise you may be overwhelmed by the amount you need to catch up on and only skim. Arts education is a subject that deserves more than skimming.

We Got Answers, You Got the Questions?

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Everything Needs A Little Organization
I learned a semi-important lesson about injecting a little organization into seemingly low key events. We had a large group make an advance request to meet the cast of our current production after the performance. The group organizer didn’t think the older people would want to interact with the case, but was pretty sure the kids in their group would want to. I talked to the director and between us made all the required arrangements with the cast.

Essentially, the plan was to have the group come down to the edge of the stage after the show and the cast would come out to talk with them. We were open to any other members of the audience coming down to speak with the cast as well but didn’t announce the opportunity.

Before the show the group leader came to me again and double checked that their group could meet with the cast. She told me how keen they were to meet the cast. I went backstage and verified the arrangements with the director and stage manager.

Come, Talk To Us!
Well come the end of the show, the cast came out and some people came down to talk with them but most hung back and talked with other friends in their group. The cast had come out prepared to answer questions about the production and ready to interact with young people and were disappointed that the interest wasn’t as advertised.

I began to suspect that perhaps the group leader and a few others were excited at the idea of their young people meeting the cast but hadn’t actually measured or cultivated any interest in the kids. Nor did they really encourage people to come forward. It seemed the group leader was happy with the experience because those who wanted to talk and get autographs had the opportunity to do so.

My thought is that I should have talked to the group leader a little more to learn what she expected and to express how we envisioned the encounter taking place. With kids involved we obviously desired something more spontaneous than a “raise your hand Q&A” but still wanted some effort expended to corral people in our direction.

Questions Are The Hardest Part
Ultimately, I think the whole concept of a Q&A with audiences may be flawed. The majority of the time it the experience seems to be a disappointment for the artists involved. The source of this disappointment seems to be the questions being asked which tend to revolve around the basic discipline any performer must cultivate; things like how they remember all their lines or movements.

The source of this problem is that people generally don’t know what to ask. You can probably trace this all the way back to the lack of arts education in the schools without too much effort if you had a mind to. It is a matter of lack of exposure and understanding about the process. Audiences ask how long people rehearsed. Performers are dying to talk about how things evolved and were decided over the rehearsal process.

Why Does That Sound So Familiar?
Unfortunately, that conversation often has no meaning for audiences. In a Q&A for a Shakespearean play, an actor remarked that the choice was made to perform the show in the standard North American dialect. Even though the patron had just heard it for a couple hours, she asked the actor to say something in the dialect and was rather disappointed at how unremarkable it was not comprehending that the “standard” label referred to how common it is to hear people speaking that manner.

We Will Answer Your Questions…
One of the easiest steps to take would be to list possible discussion questions in the playbill for people to ponder while they watch the performance. Of course, there is no guarantee people will read that part of the playbill or will think at all. I have seen a couple theatres include these questions in their programs. I only remember attending Q&A sessions at one place. It didn’t eliminate questions about learning lines but the quality of questions seemed higher. I can’t say if it was a result of the discussion prompts or the general quality of the audience members being better than at other places.

Perhaps one of the elements integral to making people feel more involved with performances is really, really, really pushing them to ask questions. This means having someone with answers. Given that designers and directors move on after a show has opened, stage managers, actors and technicians are busy wrapping up after the performance any not always available, this may mean having a separate person with an intimate knowledge of the performance available in the theatre or lobby immediately after the show to fulfill patrons’ desire of instant gratification.

..But Please Don’t Text During the Show
They may also be tasked with answering questions via online forums later as people digest what they have seen. Or perhaps they are following up with answers to questions they didn’t know the night before. They may even end up fielding text messages during a performance. Not the ideal situation from the performer’s point of view, but perhaps highly valued by the patron.

Rare Relaxing Residencies for Arts and Culture Managers

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Always on the look out for programs that benefit arts managers, I came across the following listing offering residencies to arts and cultural managers at a location in Key West. For some reason, they don’t promote the opportunity on their website. You need a subscription to reach the website on which it was listed. But such is my desire to make people aware of the opportunity, I am reproducing selected portions of the listing here. If you are interested, you can contact them and they can regale you with all the benefits of their facility.

Artists and Managers in Their Natural Environment!
I am aware of numerous organizations that provide residency to artists but this is the first I have encountered that offers them to leaders and administrators. Since you would theoretically go alone, it wouldn’t be a staff retreat where you engage in group strategizing or team building activities. It might be beneficial for administrators to mix with creative artists for whom they would have no responsibility. There would be no pressure to rein in, budget money for or contract the services of the creative artists. It is not often arts managers have an extended time in an arts environment free of these considerations. It might actually help managers and artists develop healthier attitudes toward each other. From my experiences in performing arts and from what I have read on blogs and articles, I don’t think there is an arts discipline where the relationships aren’t at least guarded.

Anyhow, here is the listing. Hopefully one of my intrepid readers or their friends will have the opportunity to engage in a constructive stay.

Mull Management in Mango Tree House

IT’S NOT A JOB, IT’S A CREATIVE ISLAND ADVENTURE The Studios of Key West, an emerging creative community at America’s Southernmost Point, seeks cultural managers and innovative arts administrators for 1 to 2 week residencies in our Mango Tree House. This residency requires no work, no problem solving, no meetings or presentations, and no reporting of any kind. Directors, program officers, and Alliance of Artists Communities’ leaders: Tell us your dates, plan your travel, and think Zen.

A SHORT TROPICAL RETREAT FOR ARTS ADMINISTRATORS As a companion to our longer-term Artist-in-Residence program, this short-term stay in Key West’s Old Town can include project research, program planning, networking and collaborating; or it can simply be a retreat-like hermitage on a warm and libertarian island, away from the usual workaday environment. TSKW is currently considering the short-term residency needs of academics, cultural managers, critics, instituional officers, museum professionals, and other professional people involved in forging high, low, popular, and obscure culture. Time and space in Key West will provide new influences and fresh experiences, and an appreciation for life here in the Conch Republic, 30 leagues North of Havana, America’s Mile Marker 0, Cayo Hueso

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The Studios of Key West is proud to offer a handful of 1 to 2 week residencies for America’s Cultural Managers and Arts Administrators each year. If you have time off to travel to the Southernmost Point, and are interested in a singular retreat opportunity, please contact us for details on how to proceed.

IS THIS A VACATION? Yes, but it’s also a new form of professional development, in a place that will welcome and honor your presence, at a new kind of creative community. Learn about us here www.tskw.org, then contact Eric Vaughn Holowacz Executive Director at eric@tskw.org

THE FINE PRINT Cultural managers, arts administrators, artistic directors and producers, program officers and curators who can get away from their busy roles for a week or two are welcome to express interest in the TSKW Cultural Manager Residency. Participants must be able to cover travel to and from Key West, as well as some living expenses while on the island. […]

Come Early And Watch

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I really love watching productions come together. Last night I was watching a dress rehearsal for a show we are opening on Friday. I always do so around this time so I can spot any audience related concerns that didn’t occur to anyone to tell me. I usually watch for things like strobe use, characters entering from the audience that will necessitate holding late seating or people returning from restrooms. I also keep an eye out for things that might offend audiences despite assurances that there is nothing offensive in the show. (Yeah, right)

I give feedback on the production. I don’t engage in any of the meddling for which producers are stereotypically infamous. Generally I just talk about things that confused me because of costuming, point out some overacting that went on while the director was looking elsewhere or note that people were bumping the scrim during backstage crossovers.

A recent development I have been pleased to see is the migration of staging techniques from our smaller experimental Lab Theatre space to our Mainstage. In that space activity begins as people are being seated prior to the performance, segues in the performance proper and through the intermission. What I have liked is that the action has been appropriate for the performance and has engaged the audience’s interest. Seats are filled well before the show begins so there is no need to chase people in from the lobby or wait while stragglers pick up tickets.

Beyond guaranteeing order and promptness, I appreciate that this is a step away from the pattern of arrive, sit quietly during the show, leave. People can talk during the pre-show and intermission or watch as they please. It also gives the performers an opportunity to create something original within the bounds of the production circumstances. They can develop their character a little more. Infrequently seen characters can get a little more performance time.

My hope is that something more evolves out of it and takes theatre to the next stage in engaging the audience. My fear is that the practice will move from appropriate to gratuitous as people decide it is a cool thing to do and attempt to include it in every performance. Not only will it be ill considered artistically, but it can also halt the evolution I hope for if people get stuck in the rut.

The mainstage production we are opening doesn’t actually incorporate original work but rather uses a song from the script as a musical interlude during the intermission to lead back into the show. One consideration in attempting what I have described here is that inclusion of original work before and in the middle of a performance may run counter to the intent of the creator and invalidate your performance license. You may also run into copyright infringement. Our Lab space has done out of copyright works or added the action with the approval (and some times participation) of the playwright.

None of things mean it is a bad idea. I am sure this not a unique idea and other theatres regularly use these techniques. In fact, I am pretty sure at best it may be a new take on a very old idea.

Bullets and Hooks For The Arts!

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Amid all the press about the Obama victory last week and the extremely slim margin of votes separating Norm Coleman and Al Franken in Minnesota, you may have missed the news that Minnesotans passed a constitutional amendment to increase the sales tax 3/8 of 1% to fund the cleaning and maintenance of Minnesotan lakes, parks and wildlife areas and to fund the arts.

Arts Go Fishing And Catch Some Money
You may be wondering, as I was, how the arts and culture became a part of the Clean Water, Land and Legacy Amendment. According to a couple sources, sport fishermen and hunters found a common cause with the arts. On the Pioneer Press website, Chris Niskanen writes (my emphasis)

“A small part of the general fund (about $10 million) goes toward arts funding (out of the state’s $34 billion budget), but about one-third was cut during the state’s budget crisis in 2003. The hunting and fishing community at first opposed arts being added to the amendment, but saw arts supporters had similar arguments for funding. The alliance ultimately helped the amendment pass the Legislature and, perhaps, will help it pass on Nov. 4.”


Bait Your Hook With A Powerful Lure-Arts and Culture

But the quote I really liked came from an article Artsjournal.com linked to in which columnist Jay Weiner writes,

“As it was, the pioneers of the amendment idea — the sportsmen with bullets and hooks — were wary enough of the arts being included … until they saw the political power of the statewide arts and cultural organizations.”

My first thought upon reading this was that if this is true, the Minnesota arts community should be the envy of the rest of the country. Every state should be lucky enough to have an arts community with enough political clout to help get a constitutional amendment passed. Of course, that influence didn’t magically appear, the state arts community would have been working on cultivating it over the course of years and probably decades.

If you have any ambition of trying something like this in your state, read Niskanen’s piece which addresses the arguments for and against the amendment.

You may also want to read Weiner’s article which addresses the apparently mocking suggestion that the Minnesota Vikings should have gotten on board the amendment so they could get a stadium. Weiner points out first that as fervent as sports fans in Minnesota are, they never seem to rally behind their teams politically. The other thing he mentions is that berating the arts and parks people perpetuates an environment which keeps sports fans from forming coalitions. Some interesting thoughts on the whole from a sports writer.

Work For Obama? Yes, You Can!

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Get Your Plum
The presidential transition team has set up a website at Change.gov where you can actually apply for a non-career position with the new government. There is a link to the transition directory in the lower right hand corner to give you an idea of what to expect if you apply. Even though it is a similar color, it apparently is not the famed Plum Book though you probably can use it to get a sense of the general department for which you may want to work.

I mention this in hopes some passionate people interested in government service will step forward for the NEA, NEH and other cultural and educational departments. There is certainly a need for competent people to enter public service. A foundation endowing the Wilson School at Princeton University is suing the school for not preparing enough people to enter government.

What You Should Really Look At
Even if you have no ambition to work for the government, you may want to contribute at the American Moment: Share Your Vision link. I am sure there are a lot of people with millions of ideas who will contribute via this page and anything we send may get lost in the crush. Still there is a better chance of something happening than if nothing is said.

The page provides the ability to upload a photo or video. My immediate thought was that if someone knows of a great program out there they should create a well written document supported by images and video. Share your vision for an arts education program based on something that works in at a school district in Montana. Talk about the way the local government partnered with industry to lead community investment in that arts center overlooking Lake Erie. Tell them about your idea for changing the tax code to provide arts organizations with other alternatives to the 501 (c) (3) structure. I had no intent of submitting anything myself, but now as I write, I begin to have some ideas.

Fake Violence Can Still Be Traumatic

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Via Artsjournal.com is an interesting article on how actors deal with inflicting violence on one another. Even though it is simulated, the very personal, brutal actions the performers replicate can have a psychological impact on them.

Acting Comes Between Us
I have been involved with two productions of Extremities, a play in which a woman is attacked in her home by a man intent on raping her. She gains control of the situation and takes her revenge on him. The actors get physically close to enacting the rape and when the tables are turned, the would be rapist is half blinded, tied up in a fireplace with his intended victim threatening to burn him. In both productions I have been associated with the two primary actors had to take showers afterward to cleanse themselves of the psychic and emotional baggage of the show. People who were close friends found an uneasiness crept into their relationships during the production. They had to reassure and reconnect with each other after every performance to essentially ground themselves.

I know much of this because rape as a subject matter lent itself to many outreach and audience talk back sessions. On one production one of my responsibilities was to make extra sure that family and friends didn’t make their way backstage before the actors had an opportunity to reoriented themselves.

Hopefully No Wrong Ideas About Method Acting
As far as I know, no one went out and engaged in violent behavior in order to prepare for the performance. I think what disturbed each person so much wasn’t that they had so much simulated violence directed at them as that they found something to tap into within themselves to fabricate a credible portrayal. Knowing that the potential for that sort of thing exists within you and your friends can be pretty unsettling.

Coping Mechanisms for Violent Acting
As I read the NY Times article about how the how London actors insulated themselves from their actions, I wondered if that sort of strategy was widely used by actors. It certainly didn’t seem that way with the highly charged productions I have been involved in. I also wondered if theatres who produce these types of shows make alterations to their normal practices and give the performers extra time and dedicated spaces to wind down after performances.

I would be interested in hearing about other people’s experiences either in the comments section or by email.

Where Is The Love?

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Where Is That “Yes, We Can Spirit?”
Well, whatever optimism people may have felt about Obama becoming president-elect, it apparently wasn’t enough to offset pessimism over the economy. Not only did the Dow drop 480 some points but I got two separate calls about problems with some tours. Even though the difficulties occur after the performers leave my venue, the whole situation reverberates up the line in the form of inquiries about how flexible I am on a number of matters.

Where Is My Partner?
Then I get a call from one of my partners about a third tour. Given everything that has happened until now, I thought her organization might cancel on a tour too. My fears were compounded by the fact I can’t reach her all morning and suddenly her phone is ringing busy for hours on end. Has she left the phone of the hook so she doesn’t have to tell me the bad news? (Then why did she call me?) Imagine my relief when I realized there was a problem with entire organization’s phone system that was causing it to ring busy and when I learned she had misplaced her copy of the tour contract I am lead partner on and had a simple question.

Where Is This All Going?
When I wrote about the possible impacts of the economic downturn a few weeks ago, I half imagined I wouldn’t have any practical interaction with any of the consequences I was mentioning. If anything, I thought it would be me negatively affecting other people–though there is still plenty of time for that to come to pass.

Where Is the Money!
One semi-positive occurrence this week. The amount the state arts foundation grant panel elected to award us was more than we expected. The bad news is that I found out at 4 pm Monday that the revised proposal was due this Friday. So there was a little bit of a rush since there are two layers of bureaucracy which must review my proposal before it could be submitted and the didn’t work on election day. Of course, the whole process is embraced by the caveat that I may get no reward for my expeditious handling of the paperwork if the governor decides to defund the state foundation.

I also have the sneaking suspicion that the larger than expected grant award is based on the assumption that few will be able to meet the fast deadline and if there is any money to disburse, there will be fewer people to split it between.

Fear Of The Fundraiser

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Hat tip to Seth Godin who reproduced Sasha Dichter’s Manifesto in Defense of Raising Money which begins “I’m sick of apologizing for being in charge of raising money.”

It seems to me a must read for anyone who is in the position of raising money which includes pretty much everyone in an organization since theoretically everyone must be part of the organization’s narrative. As you read, don’t get side tracked with thoughts about how his cause is so much more worthy of donations than your own. There are many elements that contribute to personal and societal health.

Dichter basically feels people approach fund raising from the wrong perspective seeing it as a chore rather than an opportunity to evangelize about the change you want to effect. For me the third point he makes after asking why people are so afraid to ask for money seems the most salient.

“…wealth is associated with power, and not having wealth can feel like not having power. So going to someone who has money and saying, “You have the resources, please give some of them to me” doesn’t feel like a conversation between equals.

How about this instead: “You are incredibly good at making money. I’m incredibly good at making change. The change I want to make in the world, unfortunately, does not itself generate much money. But man oh man does it make change. It’s a hugely important change. And what I know about making this change is as good and as important as what you know about making money. So let’s divide and conquer – you keep on making money, I’ll keep on making change. And if you can lend some of your smarts to the change I’m trying to make, well that’s even better. But most of the time, we both keep on doing what we’re best at, and if we keep on working together the world will be a better place.”

One of the other points Dichter makes is that storytelling is more a skill than a talent and I think communicating the sentiment in an effective manner would take cultivated skills. There are already organizations using this approach except they are saying, you make money, you keep giving me the money and don’t pry too much about what I am doing with it.

It occurs to me that if you are approaching fund raising as evangelizing rather than as a necessary evil, you aren’t waiting for people to ask but rather reporting back before being asked. I am certainly in a better mood when I am writing to our donors about our successes than I am filling out the final report forms for a foundation. The format of the first allows you to tell people what events you perceive as progress. The format of the second forces you to try to recast your success according the the criteria by which the foundation is measuring progress. Something tends to get squeezed and lost when you try to stuff your excitement into the box provided.

Yo Mama Says Mozart For The Win!

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Well my esteem for Stephen Colbert was nigh upon worship already due to his encyclopedic knowledge and slavish devotion to the works of J. R. R. Tolkien, but he may have gone up another notch last night. Ah, who am I kidding, the Tolkien knowledge pretty much eclipses everything else. But last evening’s show was pretty impressive since he had Yo-Yo Ma as a guest. The interview begins at about 13:30. Unfortunately, there isn’t a separate clip of the interview so you have to advance the slider. Though there is one of Yo-Yo Ma’s performance after the interview.

What’s the big deal you ask? Yo-Yo Ma is pretty much everywhere. That may be true, but is he on a show that with the audience demographics of the Colbert Report for over a third of a 21 minute program? What made the incident important in my mind was the recollection of Dana Gioia’s graduation address to Stanford University’s Class of 2007 where he noted popular culture once celebrated the achievements of public intellectuals and artists making household names of people like “Robert Frost, Carl Sandburg, Arthur Miller, Thornton Wilder, Georgia O’Keeffe, Leonard Bernstein, Leontyne Price, and Frank Lloyd Wright. Not to mention scientists and thinkers like Linus Pauling, Jonas Salk, Rachel Carson, Margaret Mead…”

He commented that the blame doesn’t flow in one direction, “Most American artists, intellectuals, and academics have lost their ability to converse with the rest of society. We have become wonderfully expert in talking to one another, but we have become almost invisible and inaudible in the general culture.”

So when I see Yo-Yo Ma on Colbert’s show joking with Colbert about the variety of ways people pronounce his name, (including Yo Mama), and referring to himself as being Joe the Cellist in some people’s eyes, I get a little optimistic about artists’ ability to converse with general audiences. I am encouraged when Colbert asks questions like, “Are the candidates addressing the concerns of Joe the Cellist” (here are their positions, by the way) and noting Yo-Yo Ma’s involvement with a variety of projects like the Silk Road Project because it raises general awareness about the importance and reach of artistic endeavors.

Whether it was intentional or not, Colbert addresses the whole issue of classical music being elitist and artists being aloof from the general public which opens the door to Yo-Yo Ma talking about the necessity for humility and collaboration. Colbert also asks if we are winning the classical music wars since the Chinese are studying Mozart and we aren’t clamoring to learn the pipa. Ma replies that it is Mozart that is the real winner. Colbert revisits the idea of classical music being elitist by asking if there are any good cello works about American themes like “pick up trucks and kicking ass” This segues into a request that Yo-Yo Ma play a song for Joe the Truck Driver. I don’t know if the piece he and his friends play is necessarily for Joe, but it also doesn’t conform to any classic music orthodoxy. In fact, I hope the look on Yo-Yo Ma’s face while his bagpiper yawps and hoots at him makes all the average and not so average Joes curious.

Attitudes won’t change overnight but increased awareness through conduits like the Colbert Report can help in the battle. Despite the self-involved bluster his television persona exhibits, Colbert has used his position to advance causes he believes in. One of his Lance Armstrong parodies resulted in a $171, 525 donation to charity.

One comment Dana Gioia made in his Stanford address that I totally forgot about until I went back to link to it, “When a successful guest appearance on the Colbert Report becomes more important than passing legislation, democracy gets scary. No wonder Hollywood considers politics “show business for ugly people.” Given all the potential fodder for comedy during this election season, I wouldn’t be surprised if the significant time devoted to Yo-Yo Ma wasn’t intended to advance an agenda and perhaps put Colbert’s influence to work for culture rather than politics for one night.

Colbert has begun to have musical guests on his show more often. Perhaps it is time to get in touch with his talent booker and send some intriguing performers his way.

Apparently I Am Going To Be To Blame In The Next Election

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Thanks to a rift in the space-time continuum this weekend, I received this cautionary video dated November 7, 2008 from my future self. Apparently, I will be responsible for great calamity in the next election.

Perhaps it was due to my selfish belief in my own dark horse candidacy. (No embed link so you will have to visit the site. Make sure to watch until the end!)

The first video was put together by MoveOn to encourage people to vote for Obama on election day. The second one just seems to be purely for entertainment value. I don’t know what is involved with the technology but I can see all sorts of potential for the arts. With an ever increasing desire for personal, customized service, I can see this technology becoming more sophisticated and widespread.

You could have personal URLs to a webpage with a video from the point of view of driving up to your venue, picking up a ticket envelop with their name on it and then entering the theatre to see a bubble with an arrow with the words “John and Mary Smith’s seats” hovering over their actual seats.

For a capital building campaign you could have a virtual tour of the proposed facility and have the name of the donor you are courting appear on the plaque on the wall, in the program book, seat plate, brick, etc. And because the technology enables you to fill in the blanks, you can send the same pitch to hundreds of people at a time. You can probably also update wall plaques with the names of those who have already given for those who need the incentive of seeing their names among august company.

I have seen websites where you can upload photos and have faces appear in the video. As you might imagine, it doesn’t always integrate smoothly because of the way the image was cropped, the way faces are turned, etc. I’ll bet within five years someone figures out how to make it work more believably.

Voice overs on the other hand I can see being viable in a shorter time. Make a video of a man and woman who aren’t on your staff. Then record employees reading script prompts “Acme Museum welcomes….”, “…., you will notice the various benefits you can avail yourself of at Acme Museum.”

Then you can go back and have the same people read off names- John (pause) Smith (pause), James (pause) Smythe (pause). Loop the audio in with the video players, insert the names and you have a video where the people are talking personally to your patrons.

The reason I suggest using people who are not your employees is so that people aren’t confused by the actual person’s voice when they meet them in your lobby. Having employees do the prompts and the names preserves the continuity of the voices. As you acquire new patrons you can have your employees go back to the studio and record their names to be inserted. While there is probably significant expense associated with creating something like this the fact that you can record and edit so much of this on a home computer brings the cost down from where it once might have been.

Finally, We Can Walk Tall And Funky

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I generally don’t post on Fridays but sometimes there emerges such a compelling piece of news, you can’t ignore or delay it’s reporting.

Artful Manager Andrew Taylor has once again exhibited great foresight and leadership of Arts Administrators the world over by composing…

It is available for download so you can put it on your iPod and listen to it before going into a meeting and exude the cool, funky confidence that comes with having a theme song.

They Took My Beautiful Coke Machine!

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Yes, we lost a good friend today as the guys from Coca Cola removed the vending machine from my building. This summer we had a fire inspection and were told that we couldn’t have the power cable for the machine running under the door into the scene shop. The door wasn’t pinching the cable in any manner and the inspector admitted that it wasn’t necessarily a fire hazard. But apparently safe practice requires we not have the power cord run there even though it isn’t a trip hazard either.

The powers that be decided they would rather get rid of the machine than drill a hole in the wall so it was adios to the Real Thing. Whether this will constitute a safety hazard as people working late at night have to run out to other buildings to get their caffeine fix remains to be seen.

Though I don’t the fire inspectors were really fully aware of it, the history of horrific death tolls in theatres provide ample reason to closely monitor safety operations. One of the most famous theatre fires was Chicago’s Iroquois Theater fire in 1903. This was a disaster of Titanic proportions as the theater billed as “absolutely fireproof” burned down within five weeks of opening due to a series of poor judgments and scrimping and not installing all the fire safety measures they were touting. The fire itself killed 572 people and the death toll from related injuries eventually brought it to 602.

In 1811, 72 people perished in the Richmond Theatre Fire. In 1876 nearly 300 died in the Brooklyn Theatre Fire

All three of these fires occurred in December which may be a sign to stay away from theatres during that month. All of them were caused by light sources. The Iroquois fire by sparks from an electric light that ignited drapes, Richmond by a candelabra that flew out unevenly an lit the drapes and Brooklyn by a kerosene lamp that…lit up the drapes. These are only a few of the many fiery theatre incidents from history.

The theatre going experience is much safer now that technology has moved away from flame based lighting technology and have adopted safer methods and standards for electrical lighting. In the past, as with today, theaters and fire marshals come into conflict over the circumstances surrounding performances.

Of course, many a proactive theatre stays ahead of the fire marshal’s objections by instituting and disseminating safety procedures. Some theatres even have a process for reviewing stage sets at the design stage.

The loss of my soda machine notwithstanding, the fire marshals were pretty fair in their evaluation of our facility. The changes they required were appropriate to the amount of traffic an area got and the training and familiarity with the facility possessed by the main users of those areas. The interaction was certainly not as antagonistic as some of the experiences I have had and stories I have heard.

Theory Crashes Into Practice

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Over on Fractured Atlas, Kamal Sinclair posted some of the responses they have been getting while researching the professional development needs for artists. The focus of the comments in this particular entry revolve around the frustration BFA and MFA students feel when they realize their formal education taught them how to be creative but not necessarily how to exist as a practicing artist and navigate their respective industries.

The entry contains about 10-15 quotes from graduates reflecting on how well or poorly their training program prepared them for careers in their fields. Hoping to provide incentive to read the entire entry, I will resist quoting some of the ones that resonate strongest with me here.

I will note that according to Sinclair, in the course of their research Fractured Atlas found that the problem may be that the training programs are slow to recognize the pressing need. “…sources imply that universities and colleges have a long history of resistance around educating artists in “the business.” The philosophy is that art should be taught for art’s sake.”

Sinclair lists some of the suggestions the respondents had about how to improve the situation. Again, you should read the entry to learn more. Fractured Atlas’ blogs contain a lot of great material on a daily basis and if I lose readership to them by pointing you there, I will still feel victory has been achieved.

I can’t help but cite one of the suggestions that leaped out and smashed me over the head with a frying pan– “Eliminate the myth of “getting discovered.” I tell you, that is just replete with all sorts of complexities. As much as training programs may perpetuate this, it is inherent in society at large. It manifests in shows like American Idol which allows people to believe they have a reasonable chance at becoming famous–the odds of which are only slightly better than winning the Powerball lottery.

Hopefully implicit in that comment was the idea that success can be defined as more than just a Broadway role, recording contract or big gallery show. Those that decide they are just biding their time in their current job until they are discovered are closing off other potential avenues for success. The current president of Valparaiso University went to grad school for acting and directing, for example. Seventeen years and three colleges ago when he was teaching me acting, I would never have figured he would end up as a university president. While a number of doors doubtless opened for him, I am sure he worked hard to position himself near those doorways.

Turning Our Professions Off

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I don’t usually talk about specific actors on the blog but I heard some amazing things in an interview with Terrance Howard on NPR this weekend. I heard the 12 minute version that aired but went and listened to the 40 minute uncut version via the NPR website. (The broadcast version is there as well.) I haven’t been following Howard’s career with any devotion but I may just do so now to see what he is thinking. He seems to have a real sense of his place in the world acknowledging the bonds that run back to his actor/musician great-grandmother, Minnie Gentry, to his mother through him and down to his son. Despite his success, he does a lot of carpentry work professionally and pro bono. His greatest hope seems to be that his son will become the scientist that he wanted to be before acting deflected him from that path.

I am not quite sure if his explanations of scientific matters are completely accurate but I am impressed by his intellectual curiosity and rigorous pursuit of knowledge much the same as I was in Danica McKellar.

What grabbed my attention most was his observations on one consequence of acting being that you insulate yourself from life and begin to observe. In the interview he reflects on this in relation to his mother’s death just two weeks ago.

Starting at about 24:00 full version of the interview-

“As an actor, the saddest thing. You stop experiencing moments. You start watching them as if you are storing them for future reference. … It’s like when I was sitting there with my mother for the last two weeks. There were moments when I couldn’t turn that actor off where I was watching her. You know. And wondering what was going through her mind…And trying to stop myself…”
[…]
The actor sometimes takes over in places that you don’t want it there. Maybe I was just afraid to face the emotion that was happening so then I began to watch.”

This state is difficult for people to deal with, he says, and as a result, “And I think that’s what happens to a lot of actors, and therefore they get hooked on drugs because they’re desperate to get away from not feeling. They want to be excited or something.”

I can empathize because I have had similar experiences. I have difficulty enjoying performances because I analyze how effects are being accomplished or I wonder what is happening backstage. The technical director at work often thinks about how he could improve the lighting for shows or events like weddings. But even outside of performances in real life, I some times realize I am watching myself experience an event. I can’t recall doing so during a something as highly emotional as watching someone die. Certainly, I haven’t filed it away for future use the way Howard suggests he does.

I don’t know whether to pity him for not being able to feel or envy him for being able to insulate himself from negative events. I suppose if he is equally unable to fully experience joyful events, then it is a net detriment.

But I wonder if every vocation doesn’t hold a similar threat. Had he become a famous scientist as he planned isn’t there a chance that he would instead be talking about how science removes the wonder from his life. That he can’t enjoy the rainbows, blowing bubbles and sunsets without analyzing the forces that went into creating them. Perhaps he might talk about how science has isolated him from those he loves because he can’t experience the world with the same joy and wonder they do. As interested as he is in science, he still looks to explain events and occurrences in terms of grandness and wonder. He talks about a soap bubble existing because the universe is finite. Commenters to the NPR piece talk about surface tension.

Even as he looks upon the road not traveled with some bittersweetness, perhaps the lesson he and all of us should take away is that engaging in other interests in the manner of professional-amateurs, we can avoid those aspects which might remove the joy from the pursuit. By pursuing acting as a career, Terrence Howard may have taken on an obligation to examine and distill life in order to advance. By pursuing science out of love, he is not necessarily responsible for defining his relationship with it in a specific way.

Getting The Dead To Blog For You

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Thanks to an interview with librarian on my local public radio station, I became aware of a fascinating blog written from beyond the grave. The grandson of William Henry Bonser Lamin is publishing his grandfather’s letters home from the trenches of WW I exactly 90 years after they were written. The first letter, written on February 7, 1917 was published on February 7, 2007. His grandson had to make some allowances in his publishing schedule since 2008 was a leap year and 1918 wasn’t. But he remains true to all gaps in letters whether due to loss or his grandfather being home on leave. Only the Lamin family knows whether the senior Lamin returned home or perished in the trenches. All misspellings, grammatical errors are preserved.

While the same element of a suspense over an unknown fate may not exist for some of the more famous artists in history but the basic idea might be one arts organizations could use either over the course of a season or in the weeks or months leading up to an event. If the letters are accessible, the organization could post them in some manner appropriate to their plan. What was Tennessee Williams writing in his correspondence while he was writing A Streetcar Named Desire? Or Van Gogh when he painted Starry Night? He had committed himself to a mental hospital at the time so it is sure to pique some interest based on that fact alone even if there is nothing untoward in his letters.

A release plan that was paced slow enough not to overwhelm people or make them feel it was a burden to follow but frequent enough to give people an excuse to return to the website regularly could be welcomed by patrons of all experience levels. This could be a good alternative to attempting to have performers and creative teams contribute to a blog during rehearsal and performance periods. A reproduced letter with notations that the untimely death of a sister referenced by a composer were the primary motivation for a symphony will probably motivate a respectable readership.

The biggest negative I could see if this became a common practice is that those organizations with money and prestige will be able to do more research and gain exclusive access to estate letters. But the less affluent arts organization can still flourish by employing more publicly available materials in a manner that resonates with their community.

Little Bird, Will You Sing For Me?

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Short entry today because I am feeling under the weather. I wanted to briefly reflect on my experience appearing on my local public radio’s fund drive.

First of all, we made the goal for the hour which was $500 more than the goal was last year. Even though I am not a public radio employee, I was feeling a little anxious as the end of the hour was approaching and we were still a little ways from our goal. It would be a blow to my pride if they didn’t succeed while I was there. Not only did I want what I was saying on air to be an inducement to pledge, but I was worried that the tickets I was letting them give away as a gesture of appreciation wasn’t being valued by the listening audience. In the end, all the tickets to one of our performances were snatched up.

One of the most interesting things that happened during my time there was that we were getting pledges from people in California and Louisiana. I thought maybe they were from some homesick people listening online. It turned out that the phone volunteers for that hour were self-professed computer geeks and were appealing to people on their extensive Twitter network to pledge. So we had people making $50 donations who never listened to the station based on their relationship with the phone volunteers.

Last month on my Inside the Arts’ neighbor blog, Scanning the Dial, Mike Janssen wrote an entry, “How Classical Stations Could Use Twitter.” I guess this is another use to add to the list. Of course, the use is hardly specific to radio stations. If you and your patrons and donors have an established network, be it on Twitter or some other social network, you might employ this tactic yourself. Renewals may have to be through the same friend rather than your development office because the person won’t have as strong a personal connection to your organization. But this fact will go that much further in convincing your local supporters that their efforts on your behalf matter and are appreciated.

View From The Other Side

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Where Are These People Coming From (And Why Aren’t They Attending My Shows?)

Being around theatres for so long, it is easy to become jaded and forget just how wondrous the on stage perspective of the audience seating area can be for people. Over the last few weeks we have had an inordinate number of tour requests. I have easily given more pleasure tours (vs. perspective rental tours) in that period than I have in the previous three years.

Don’t get me wrong, as I have noted in previous entries, I relish any chance to show the facility and brag about it. I certainly welcome the opportunity to increase awareness of our activities. It has been a great time to have tours due to all the activity surrounding our upcoming production. Actors, props people and carpenters have talked to tours about their backgrounds and what they were doing for the show. Even when no one else was around and I had to go turn the lights on in preparation for the tour, there has still been so much hanging or laying around to point to and ignite imaginations.

So Strange and Exotic

But what has never failed to impress people is stepping out on to the stage. As we move from the scene shop on to the stage people catch sight of the hemp fly system which seems strange and exotic to them. If the wings are filled with props and equipment, they catch sight of this as well and get a chance to see through the illusion of what appears otherwise from the audience.

At some point, they end up seeing the audience seating from the stage and for many, this reversed perspective is the most exciting part of the tour. I usually make sure to take people out into the audience area so they can see how much of what was apparent while standing onstage suddenly disappears from their view. Again the realization of how much of the illusion is preserved by distance and limitation of sight lines is often intriguing to people.

A View From The Bridge

Then there are a few choice groups who get to clamber up above the stage to the loading rail of the fly system, across the catwalks over the audience seating area and up above the lighting gird to look down 70 feet to the stage below. That introduces a whole different set of sensations for many people.

Two years ago our technical director took people up on to the roof of our stagehouse and showed them the expansive vista available from that vantage point. Ever since then one of the tour participants as been looking for an excuse to get up there again. A recent conference he organized gave him that excuse. While most chose not to climb out on to the roof, just about everyone was intrepid enough to climb above the grid. The conference organizer pulled me aside yesterday and told me how everyone appreciated the opportunity and how excitedly they spoke about their experience.

I guess it says something about how interesting the experience is that someone would schedule a break in a meeting include a tour of your facility. With that sort of investment in my theatre, I am going to make sure I keep lines of communication open with this guy so that he is always able to advocate and talk about us whenever he is so moved.

It’s Also Greener Over the Septic Tank I Hear

Certainly it is partially a matter of the grass being greener in your neighbor’s yard or one person’s garbage being another’s treasure. For those of us working in these buildings, the space represent challenges. There isn’t enough room in the wings or on the fly system battens to accommodate everything we need to for the show. On the other hand, we would love if the building were smaller so we didn’t have to go so far to change the lamps and gels in the lighting instruments.

For visitors, ours is a mystical land. I know from conversations with the groups, for many it is their first time setting foot in a theatre much less on or backstage. They hardly have any context by which to process the experience much less recognize the limitations we deal with everyday.

Whatever You Want To Call It, It’s Still Bad News

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Contracting Contracts

Well, worst fears and suspicions are beginning to play out. The arts organizations in my little corner of the world plan to cut back activities next year due to tightening finances. Planned renovations and constructed additions have be scrapped or postponed indefinitely. One bit of good news is that at least one of my partners has been assured their organization’s line of credit won’t be impacted by any of the changes in the credit market.

The bad news is that given the downturn in entertainment spending, decreased endowment values and the probable decline in giving due to shrinking real estate and stock values, there is going to be a lot of retrenchment going on in the next year or so. At my consortium meeting today, some of the larger groups said they are going to cut back in the number of performances they present and are going to look to artists to accept smaller fees. One person’s board is more closely scrutinizing the choices being made and is requiring more detailed and complete information before committing. (One silver lining, some of us already feel we have previously cut back to about as far as we can go.)

Performers Get Short End

I am afraid that as frequently is the case, the performer is going to be the one that suffers most. It isn’t even a case of if you won’t cut your price, there are dozens of others out there doing the same thing you are who will. There were a handful of groups that we decided today were mutually exclusive. They were so close together genre wise that we could only ask one or the other. There was no talk of having alternatives in case one of them didn’t play ball. I can’t speak for other booking partnerships, but everyone in my group was approaching the decision making processes sincerely and not planning to leverage one group against another.

Fewer Acts Doesn’t Mean Diminished Quality

My concern is that if three out of ten groups approached won’t lower their prices, it will be viewed as all for the best since the organization wanted to cut back in programming next season anyway. So not only will the original artists not make money, but their competitors won’t either. And as far as the arts organization and its audiences will be concerned, the high quality of the offerings were maintained in tough economic times because the other seven agreed to reduce their fees.

Again, I want to emphasize, this is just one possible outcome I am anticipating. Today’s meeting was very preliminary. Most artists fell at or below our traditional fee ceiling and we weren’t looking to reduce the rate if it fell inside our normal comfort level. There were a number of groups that we were hoping would negotiate into that comfort level. Really, this is the case every year. Though I mentioned asking ten groups to reduce their fees in the previous paragraph, that is because it is a nice round number. This year there are probably five. About three we know are longshots and two are reasonable expectations. Most years if people don’t come down, some partners bite the bullet and accept the higher than average fee because they want to present the group. Next season, I am afraid the motivation, and funds, to pursue these exceptional artists will be gone.

I hate to attribute the best intentions to my group and cast others in a negative light, but I would imagine there are others who look to gain every advantage they can muster.

Burden of Promotion

Another disadvantage I could anticipate based on my experience today is that a much greater burden to promote oneself or group will now fall upon the artists. YouTube may provide a cheap way for people to access information about you but there is a cost to putting together a nice quality video of one’s work. We were looking at a DVD today of a well regarded performance group that was very poorly filmed. This wasn’t a poorly shot video by a friend put on YouTube, this was material they were handing out officially to represent them.

Websites have proved to be a great way to distribute electronic press kits (EPK), but someone has to put the kit together. Gathering reviews, scanning them and transforming them into Acrobat documents for easy download takes awhile.

Artists are also hurt by having an unresponsive agent. Problem is, since performing arts centers are talking to agents first, the artists have no idea they need to be bugging their agent to respond to inquiries. Artists, if you feel comfortable doing so, have your very most up to date tech rider on your website. Make sure your agent is sending it out too. I can’t tell you how many times performers show up and say, “Oh you must have the old rider.” Having access to the EPK and rider password protected doesn’t help if you have a non-responsive agent controlling the password.

The reason why all this is important is that some organizations and their boards are examining the saleability of groups very closely. The more evidence you provide that you appeal to the community they serve, the easier it is to make a decision to engage your services. Some boards, I am sorry to say are scrutinizing potential costs very carefully which is why an updated rider is so important. Better they be alienated by a contract before they sign it than to have the organization try to scrimp on costs come performance time.

It Isn’t Enough Their Endowments Lost Money

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I don’t know if it has any repercussions on arts organizations yet, but the Chronicle of Higher Education (subscription required) reported yesterday that Wachovia Bank had resigned as a trustee of Commonfund, which manages funds for non-profit organizations including universities, endowments, healthcare organizations and performing arts organizations. In resigning as a trustee of the Short Term Fund (which it should be noted, is only one of many funds), Wachovia froze the assets of nearly 1000 universities. At first people could only withdraw 10% of their funds, now it is 26% but access to full funds isn’t expected until 2010.

The problem for colleges and universities is that many of them use the fund for operating expenses, including payroll. There is concern that they will not be able to pay employees or bills in the next few weeks. Financial Week says Commonfund has been having a hard time finding a trust bank to take over given that most of the candidates have either failed in recent weeks or are being bought up by others.

While many arts organizations have had their finances profoundly impacted over the last few weeks, what I have read has mostly been in relation to endowments rather than short term funds. The endowments Commonfund administers are in different funds which are apparently not impacted. Given that colleges and universities had placed their money here on the belief, as Financial Week quotes, it was a conservative, safe move, there is a good chance some arts organizations may have invested there with the same intent to use it as a source of operating funds and are looking at some tough times ahead.

At least one college representative said they were okay for now since they had recent the tuition receipts to draw upon. Unless an arts organization has a good subscriber base or has received a large grant recently, they may not have the same security available. Regrettably, many organizations who didn’t invest in this particular fund may find it difficult to conduct business due to the reduction in value of investments and endowments and, of course, reduction in patronage from groups and individuals who have faced these same events.

Monkeys to the Left of Me, Monkeys to the Right

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I usually talk about the activities of my theatre in vague terms but I am really getting excited about the way an event is unfolding for us. This November, the drama department will be performing a version of Journey to the West adapted for the stage by Mary Zimmerman. If you have been reading my blog for awhile, you will know that the drama director is quite enamored of Zimmerman’s plays. This will be the fourth we have done in five years.

Journey has been a play he has wanted to do for a while now. A few years ago he was accidentally (we assume) put through directly to her agent who gave the director the impression that Journey was his favorite of all Zimmerman’s plays. Whether the agent said that or not, the director resolved to do the show. The problem was, the play was not in print so an appeal to Zimmerman directly was needed and much to our delight, she granted permission.

If you aren’t familiar with Journey to the West, it is essentially as much a cornerstone of Asian culture as the Odyssey is for Western cultures. Nearly every Asian country has their own name for the central figure of the Monkey King. The influence on popular culture is vast. This year’s Forbidden Kingdom with Jet Li and Jackie Chan is based on it. In 2010 a direct interpretation of the book is due out. Countless anime and manga stories draw from it. At the Charleston Spoleto Festival this year, a stage version was presented with music by Blur/Gorillaz member Damon Albarn. There have been numerous television series based on the story. Just go to YouTube and type in Journey to the West. There are so many options, it is pretty difficult to discern between them if you try to watch contiguous episodes of one series.

What makes the story so appealing is that it is both a tale of rollicking high adventure involving the heroic slaying of fantastic beasts and demons and a medium for discussing Buddhist philosophy. Since we did the Odyssey last year one of the parallels I saw immediately was between Odysseus taking 10 years to get home and the abnormally long time it takes the Monkey King and his party to make it to India. When the monk, Tripitaka, who the Monkey King is accompanying comments on this, the Monkey King points out that their progress is tied to Tripitaka’s ability to cast off his hang ups and approach enlightenment. It occurred to me that Odysseus probably had much the same problem.

In any case, there was a fair bit of excitement brewing about this production. One of the contributing factors was the decision that the show would involve tissue work–essentially the fabric climbing that you often see in Cirque de Soleil shows. One the hope of being cast, people were taking tissue workshops this summer on their own dime. Once people were cast, they were required to complete a minimum amount of training if they hadn’t already.

This is pretty serious work so people are training and working out every day for the next two months to strengthen themselves and refine their technique. The great thing is, this is adding to the excitement and energy backstage. It was too appealing to pass up so I asked someone to start taking candid pictures of the process so I could put them up on the website and in email messages to subscribers.

Here’s a little of what we got-

goofy.jpg

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monkey hang.jpg

All photos, Julia Dunnigan

Must…Listen..To..Classical…Music…

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About a month ago I was attending a cocktail hour with other arts professionals a gentleman expressed concern to an orchestra administrator over the fact that he didn’t get classical music. He figured that as he got older, one day classical music would click for him but it hasn’t and he didn’t know why.

The answer the administrator gave didn’t really impress me. It is a tricky question to be sure, but she didn’t seem to be trying to convince him to attend or even offer suggestions for how to prepare ones self to attend. But I think a lot of arts organizations, regardless of genre, fail in this regard. That wasn’t what I wanted to address today anyhow.

Even though his comment carries the implication that classical music is only for older people, it also suggests that he sees enjoying the music as a sign of maturity. He seems to feel it is part of his development as a person and is a little concerned it hasn’t clicked for him. That he wants to like classical music may be reason for optimism if it is an indication of a sentiment that permeates the culture.

If it does, then that means there is still something that classical musical organizations can appeal to if they can figure out how to address the unease of not liking something you figure you should. The guy I was talking with was only 40 something so addressing the concerns he and his cohort have can go a long way in skewing median audience age younger.

I really don’t know what the answer is. I am essentially in the same camp of wanting to like the music more but not really able to get invested in it yet. Not finding the answer will represent a missed opportunity. This assumption that one should become more involved with classical music as one gets older may only be generational and a result of values passed to us by our parents. There is no guarantee that this idea is sitting as a subtle compulsion in the subconscious of the next generation.

If The Pudding Is Really That Good, Why Don’t They Serve It?

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As corporate blogs go, I sort of like Southwest Airline’s. They do a pretty good job covering all sorts of topics from opening new facilities and showing pictures of their mechanics performing maintenance on the their aircraft to discussing the impact of hurricane’s on their operations. Of course, being Southwest they also indulge in goofy pursuits like sharing their grandmother’s banana pudding recipes.

I think the blog is pretty effective for them as a forum for communicating information about their company and answering customer questions about the choices they make.

One thing they did recently which I thought could be especially effective for arts organizations is have an entry and podcast on how to work for the company and what to expect once you apply. (podcast doesn’t have permalinks so you’ll have to find the 9/24/08 episode.) They talk about all the crazy stuff people did to get noticed but also note how long it took some of these people to get hired given that they receive hundreds of thousands of applications every year.

Arts organizations taking a page from their book could talk about what people might expect working for the organization and what the place would expect of an applicant. This could help strengthen and diversify the applicant pool. I am partially thinking back to comments Andrew Taylor made last January about how arts organizations shouldn’t discount people simply because they don’t possess skills that have an exact one to one correlation to the job description they wrote. It is great to hire true believers who have already invested their hearts in your industry but in the long run more dispassionate new blood might lead to a healthier situation.

If you don’t have the resources to maintain a running blog or podcast, it would probably still be beneficial to have a one or two recorded conversations with people talking about their experiences with the company posted in the Human Resources portion of your website. The emotion transmitted in a voice is certainly compelling than a lengthy text account of the same information.

Make Those Wall Street Bums Work For Us!

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Fractured Atlas’ Adam Huttler posted about the disincentives inherent to the traditional non-profit model partially in relation to the fall of so many financial institutions over the last few weeks.

I’ve often argued that the traditional non-profit model discourages necessary risk-taking. It does this for a few reasons:

1) Employees can’t own stock, so they don’t benefit from financial success. Yet they’re still vulnerable to financial failures (i.e. they can lose their jobs or suffer career setbacks). To a lesser extent, the same is true for non-profit Board members. When someone’s got no stake in the upside but is still exposed on the downside, the rational response is extreme conservatism.

2) The culture of the non-profit sector is such that managers go to absurd, herculean efforts to avoid admitting failure, mostly in an effort not to embarrass themselves in front of funders.

3) Non-profit organizations are chronically under-capitalized. By failing to build reserves or hoard surpluses, we end up in a situation where each budget is a tightrope. A single serious misstep is enough to pose an existential threat to the organization.

He goes on to talk about how free market enterprise incentivizes excessive risk taking in the for-profit industry and lists the form this takes. Huttler notes that while regulation can help keep the activities of for-profits from becoming too risky, you can’t make for profits engage in riskier behavior. However, he feels that if the relationship with funders could be changed, risk aversion can be mitigated to a degree.

His observations paint behavior of for and not-for profits as two sides of the same coin. For profits have a short term view because they are trying to burnish their quarterly reports for the sake of enhancing earnings. Not for profits take a short term view because their funding only covers a limited period. Given the necessity to continue to seek funding, the organization has to frequently reinvent parts of itself to conform with grant opportunities.

What Huttler suggest as a solution seems very close to what the Independent Sector proposed a few years ago. The Independent Sector suggested that foundations engage in long term core support of organizations rather than program support. They also suggested foundations develop a uniform application and reporting procedure so that organizations weren’t devoting so much time and energy on applications and reporting. (The entry I link to is one I am particularly proud of so take a look! Not to mention that the issue is more complicated than I have presented here.)

Huttler notes that it is difficult to provide performance incentives on par with the for profit world given IRS rules preventing revenue sharing. He mentions that Fractured Atlas provides performance based group bonuses which are apparently legal and I am sure sound like a good idea to most non-profit employees.

One of my initial thoughts upon reading Huttler’s first point about how non-profit employees face all the risk and none of the profit-sharing reward that for profit employees do, was that this group was motivated by factors other than financial. I am glad he acknowledged that near the end of the entry though I assumed he understood this even if he never mentioned it. But as I read the entry I reached the same conclusion he did–it can be tough to translate this non-monetary motivation into risk taking.

One of the first things that popped into my mind was that attempting this could actually lead to the pursuit of grants that didn’t really align with the organizational mission. A person is enthusiastic about serving X community and comes to the leadership with a grant supporting that very thing. But is it really in the organization’s best interest? Do they really want to continue the program past the grant period? Will there be anyone to continue it after the person leaves? It is easy to get caught up in the enthusiasm of a person for a clearly worthy cause when your organization is fueled more by coffee and enthusiasm than money. Engaging an employee’s interests can reward them for all their hard work when there isn’t much else with which to reward them. But you have to weight that against the long term interests of the company.

Yet it is easy to dismiss the suggestion of a really risky venture that would be in the long term best interest of the organization based on the risk alone. A fantastic failure as a result of risk taking won’t be in the interests of the company if it closes or most everyone gets laid off. Engaging an employee’s passion when there is money readily available from a foundation looks like the sane choice even if the program it funds probably won’t exist in 3 years–at least the organization itself will.

Not all risks are directly related to finances, of course. Just as every passion doesn’t necessarily require grant funding. An employee might be interested in cultivating an online community on behalf of the organization employing software that is available for free. All you have to do is allow them a couple hours a week to work on it. But if an incident arises that causes your organization to become an object of derision online and spills over to the local print and broadcast media, that can be a huge problem for you. But if your employee manages to tap into the interests of a bunch of influential 20 or 30somethings, the effort could be rewarding for you, your employee and your new supporters. (Though this win-win-win situation could be detrimental if the established supporters feel the organizational character has changed for the worse. That is the risk you have hopefully anticipated and prepared for.)

Ultimately though this whole issue leaves me wondering if there isn’t a better way than the non-profit model. Is there someway that allows employees to share in the success of the organization and have their non-monetary motivations engaged as well? Given the complex financial instruments constructed by the investment firms that got the country into its current financial crisis, I guarantee the brain power to design a way to finance such an organization exists (both constructively and legally, of course). There is simply has been no motivation for them to turn their minds to constructing such an opportunity. Perhaps the non-profit world at large should push to have these people prosecuted for criminal malfeasance and negligence and then advocate that they be sentenced to community service creating a proposal for such a funding scheme.

Eyes Give You An F

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There have been a number of studies conducted regarding how web page visitors interact with the pages they visit and what the most effective layout might be. One of the most prominent studies was conducted by Jakob Nielsen who used eye tracking studies to discover that people viewed pages in a roughly “F” shaped pattern. People read left to right at the top of a page but as they continue, they start scanning along the left column only.

The details of the study linked to above are pretty interesting. Another website, Virtual Hosting.com coalesced the major suggestions Nielsen made along with those from other studies to create a list of simple ways people can improve the effectiveness of their websites. (Tips for blogs on conveniently on the next page.)

The most surprising of their 23 tips is the first one- Text attracts attention before graphics.

I will leave it to my curious readers to continue on and find out why…

Activity Breeds Excitement

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We had a thank you luncheon/orientation for our volunteers this past weekend. In the past we have had it in the Spring but the schedule last spring was replete with conflicts so we chose this Fall to hold the event. In some respects, it was a better choice. Because we held the thank you lunch on the same day as the orientation, new volunteers got to meet experienced people prior to an event giving them an introduction to a person who can provide guidance during performances. Also, it can’t hurt to feed your volunteers before they actually do something for you.

A rule we have set for ourselves with our volunteer luncheons is to make sure there is something going on in the building when we are having it. Even though the volunteers see the building in action all the time, we want to make sure there is a sense of vibrancy and purpose, albeit subdued, while they are around. What is tricky about scheduling things this way is that most of the time we have something going on, we need the volunteers there to work. In previous years we have held the luncheon before events that only required a few volunteers like the annual classical and folk guitar concert. Some of the volunteers would have to leave a half hour early to prepare for the event but most could continue to hang out or go see the concert for free.

This year we did things differently and held the event prior to auditions for the Fall drama. There is nothing like the nervous energy of auditioners to fill a building with a sense of excitement. We scheduled our event to end just as the staff was setting up the theatre for the second day of auditions. There wasn’t any overlap on space since the actors entered through the backstage door and we held our lunch in the front lobby. (Another little hook for the event. Since we don’t allow food or drink in the lobby and have the volunteers enforce that rule, we billed the lunch “as the only time you will ever be able to eat in the lobby.”)

An hour and a half before auditions began, there were already people pacing around doing vocal warm-ups, practicing dance and movement routines and acrobatics. For many of our volunteers walking among this activity on our building tour this was almost an entirely new experience for them. Not only had many of them not been backstage in a theatre, but they had little familiarity with the preparation involved to try out for a play. (I wasn’t even going to attempt to address the differences between a cold reading and prepared monologue audition.)

Overall, I was pretty pleased. Based on criteria from the quality of preparation to interactions and relationship building we see in our volunteers over the next year, we may consider a Fall event better suited for our volunteer recruitment, training and retention needs. Even if we decide to go back to the Spring, I am pretty sure choices we make will be heavily informed by our experiences last weekend.

How Will Your Organization Live On?

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In the past, whenever I would get anxious about whether a marketing plan would work, I would always think about New Coke. If ever you think that someone who is smarter, has a bigger research and marketing budget, more personnel and resources could do a better job, all you have to do is look at new Coke to realize having these benefits at your disposal are no guarantee of success.

Now as we watch Bears Stearns, Merrill Lynch, Lehman Brothers, AIG Insurance, Fannie Mae, Freddie Mac and Washington Mutual encounter troubles we are basically provided with more contemporary examples of how this is true.

Of course, even if your marketing budget is 1/100,000,000,000th of Coke’s, the stakes and disappointment if your plan fails are not equally exponentially less than they experienced. In fact, since there are fewer people to distribute blame around to, your experience may be greater.

It can also take far fewer and far less severe mistakes and mismanagement to lay your organization low. The events of the last few months have brought an all to familiar reminder of organizational mortality. If there is one realization most non-profit arts organizations embraced long before the for-profit world, it is that there is no such thing as “too big to fail.” A great many arts organizations have experienced “donor bailouts” and come back strong while the cash infusion allowed others to linger awhile longer before finally closing.

The reminder for many arts organizations is that they don’t have any intrinsic right to exist. There were far more people invested in the continuation of the aforementioned corporations than have ever willed the continuation of an arts organization. As a result some of these companies have been bought out or merged. But as of the time of this entry, it doesn’t look as if anyone is going to step forward to save Lehman Brothers. There have been some merger partnerships between arts organizations in the past to save one or the other of them (first that comes to mind is Asolo Repertory Theatre and Sarasota Ballet circa 1997). But for many arts organizations, that option doesn’t present itself.

As many organizations of every type are wont to say, a organization is not the physical presence as it is the people and ideal that it represents. If anything is going to remain of an arts organization after its demise, it is that. If an arts organization is smart, they will devote a lot of energy to cultivating and sustaining their image and ideal throughout their existence.

Pam Am Airlines once spanned the world regularly serving every continent except Antarctica. The airline failed in 1991 and subsequent attempts to resurrect air service under that name likewise failed. However, the cachet of the name is still powerful and currently appears with the familiar logo on the side of railroad freight cars. The company even named their quarterly reports (of hopefully their success) Pan Am Clipper, the terminology the airline used for their planes. And people still hold hope that the airline will fly again. In a Forbes article last year, a Miami attorney was looking to license the name for an airline flying internationally.

Few arts organizations have that sort of name recognition on a national level. But it is possible to generate value for an arts organization on a local or regional level. Given that it is quite possible we are in a transitional stage for the way the arts are presented and experienced, many arts entities may go out of business over the course of a few years. The name may re-emerge as with Pan Am, with a different physical manifestation altogether but with intangibles like the core identity, quality and values transferring intact.

The Asolo Theatre moved operations from a theatre that originated in Asolo, Italy into a theatre that originated in Dunfermline, Scotland. Arena Stage moved across the Potomac River into Virginia and no one doubted they were the same organization. Identity is not tied to physical places. Now if either went out of business and reemerged as a video game developer or communications company, their new customer base would probably have few overlaps with their old one. But there would still be a association with quality entertainment experiences lingering in people’s minds which can have positive results for the new companies.

Fuzzy Definitions

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During his talk prior to the design charette for Performing Arts Center Eastside, Alan Brown cited the 1997 Survey of Public Participation in the Arts commissioned by the National Endowment for the Arts. Brown apparently has access to the raw data which is not listed in the NEA report. The answers Brown lists from the survey may cause you to question the results of the surveys you conduct.

Brown lists an admittedly small excerpt of the verbatim responses to the question: “What was the last “classical music” concert that you attended?” Among the answers listed are Tito Puentes, The Stompers, Showboat with Tom Bosley, Music Man, King and I and Oliver.

For the question, “What was the last “opera” that you attended,” Phantom of the Opera appears five times along with Les Miz, Brigadoon and “It was on Broadway” (remember, these are recorded verbatim).

Not having access to all the raw data, I have no idea what percentage of the answers these represent. As I suggested, it does make you wonder when people answer surveys that they enjoy and want to see more classical music or opera, if your concept of classical music/opera is the same as theirs. These results are from 10 years ago so I wonder how much less significant these categories are to people these days.

I also wonder if there isn’t a constructive way to make use of this situation. By and large people attending a performance have absolutely no idea if the hosting organization is for profit or non-profit (and a foggier notion of what that may mean). They aren’t there to support their favorite non-profit, they are there because they enjoy the product. They may feel a loyalty and trust in the organization but it might not have any relation to the tax status.

With this in mind, would it be a benefit to arts organizations to de-emphasize classical and opera and focus on the idea that they produce great performances? You wouldn’t want to abandon the label altogether or misrepresent what you were offering because you would alienate people who did know the difference between opera, classical music and musical theatre (or ballet, modern, jazz; Shakespeare, Miller, Godot, etc) The Philadelphia Orchestra isn’t going to get away with advertising a concert as their latest remix of that rockin’ composer of the 20th century, Rachmaninoff. Unless, of course, they do treat his music to a remixing, the nuances of their interpretation vs. another orchestra’s will hardly constitute a remix.

Acknowledging that people don’t care how performances are categorized as long as they have an enjoyable experience changes the way you market performances. If the definition of classical music is rather nebulous, the fact that the violinist received a Pomme Rouge when they were 17 is nearly bereft of meaning. (As it should be, my mother was giving me pommes rouge before I was 5 years old.) Marketing has to focus on why someone will enjoy the performance and not overly concern itself with convincing someone they like the organization’s definition of classical music or whether the recipient likes classical music at all.

This probably sounds strange because the performance is of the organization’s definition of classical music. But what I am getting at is that the focus shouldn’t be on telling everyone what a great and important guy Beethoven was. Certainly, mentioning Symphony No. 5 in C minor, Op. 67 is a waste of column inches in a newspaper for all the influence it is likely to have. Telling people they will enjoy it because the opening motif is one of the most recognizable phrases in the world and has been appropriated and integrated in numerous compositions since can be convincing. The idea that it is Death knocking at Beethoven’s door is certainly compelling.

I know that this is pretty much discredited but that is the story Pat Conroy tells students in The Water Is Wide. I first read the book 20 years ago and that fact has stuck in my mind since. If the piece can inspire excitement in poorly educated students who were entirely unaware of classical music, what impact will it have on people who are marginally or generally aware of it? Even more importantly, the kids didn’t know classical music to know if they liked it or not. I’d bet they would have categorized Beethoven alongside any other piece of well played music they came across.

Of course, the water flows both ways in regard to this sentiment. When asked if they liked opera, someone might say they liked Phantom but didn’t really care for The Magic Flute. A good experience with what they think is opera, classical music, Shakespeare (but really Oscar Wilde), won’t guarantee liking the “real” thing. Nor may it inspire experimentation even if they equate Phantom with opera due to simple lack of name recognition.

So what I am saying is, just put the information out there telling people why they will enjoy a performance and let them decide if they will or not. In some respects, if people are defining what might traditionally fall in a Pops concert (Marvin Hamlisch, Burt Bacharach) as classical music, it could help, however marginally, to gently dissolve the barriers of definition and include familiar pieces like Beethoven’s 5th. The 1812 Overture certainly hops back and forth across this fence. Bugs Bunny helped turn classical music into pop music. Perhaps there is something to be gained by tossing the Blue Danube Waltz into the pops. I still associate that piece with the cartoon of swans swimming behind their mother (starting around 4:15 in this video) And who can forget “Kill da Wabbit” and “Spehwur and Magic Helmut” from “What’s Opera Doc?”

Opera Has Sex Fiends? Sign Me Up!

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This week the readers of England’s Sun tabloid got the opportunity to attend the opera for between $13 and $52 where the tickets generally run around $175. The Sun announced the opportunity back in July. People had to buy the paper one Sunday to get details so they could enter a lottery for tickets. At the time, there was a bit of negative reaction (note this one is on rival paper, The Guardian) with people decrying it as an ineffectual move since those who normally read the sensationalistic Sun were not the type to return to the opera at regular prices. Some opined that those who liked the regular misogyny exhibited on Page 3 would hardly appreciate high culture.

But the opera in question, Don Giovanni, seems ready made for those who read of the peccadilloes of young lotharios on a daily basis.

In something of an inversion, the unrefined masses got a night in Covent Garden while afficiandos had to satisfy themselves with a simulcast at a movie theatre chain…or wait until another night. (Actually, this characterization makes it sound like a reversal of the usual. In fact, unlike the Metropolitan Opera, this was the Royal Opera House’s first simulcast.)

If you watch the video accompanying the BBC article , you will see the reactions were mixed. Some had a wonderful time and will come again. One woman said it was a nice evening but she wouldn’t hurry back. Another woman listed her concerns over the high cost of attendance (transportation, food) even with the reduced prices. Then there is the guy at the end who proudly proclaims he read the The Guardian.

This illustrates that even when offering reduced tickets, you have to be prepared to answer concerns and motivate people to attend again above and beyond the quality of your product. There was one man quoted in the article as he left at intermission because the seats were uncomfortable.

“We left because it was rather cramped,” said Mrs Tweedy.

“It’s not a reflection on the opera – it was amazing. The voices were great and the lighting was fabulous, but there was a gentleman who decided to share half my seat with me.”

Mr Tweedy said: “It was my first time at the opera – it was ok but after an hour and a half sitting in a cramped seat it was getting a little bit too long for me, but I’d go again.”

This put me in mind of the Urban Institute study on arts attendance I cited a couple years back which found that the two elements that people said would cause them to decide not to attend a performance at a venue again were not having a good social experience and not liking the venue.

It is impossible to say now whether the man will indeed attend again or not despite his experience. Covent Garden has a certain cachet which can’t be overlooked. If this had happened at a less famous facility, perhaps the judgment would have gone against the opera.

Inciting Incidents

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I have recently been reminded that it is often a small incident rather than a major one that coalesces people into action. There is often no way to plan and maneuver these events into happening. Rosa Parks sits on a bus. Surely there were other people who did the same thing and met with consequences. Why then? Why that day?

When our new assistant theatre manager started a year ago, he preferred to work at a desk I hadn’t anticipated him wanting. Because we stored often used files and binders in and around the desk, I have often had to ask him to move while I retrieved it. We didn’t have time to reconfigure things until this summer which is when I suggested alternative layouts a number of times. But he never really seemed motivated to do anything. Then Wednesday I asked for his help in running an internet cable through a hole in the wall. Thursday morning I came into work and the whole office was reconfigured. I have gone into work in jeans the last two days to continue with the clean up and rearranging.

Why was the running of that cable the spark that got things going? I have no idea. I would have preferred this all to happen over the summer when I had more time. On the other hand, it provides a welcome break from reviewing last month’s expense and payroll reports.

I had the same thing happen in an online game in which I help create scenarios for players. My attempts to spark interest with subtle and blatant promises of lurking menace and untold riches have gained limited involvement at times. However a group of organizations decided to talk about setting minimum pricing for their wares and the whole game went up in arms with battle lines being drawn between erstwhile allies. I was flabbergasted at the retributive activities and threats that emerged almost immediately between people who had been friends for years and years.

It is pretty clear to people in the arts world at large that a change in the way we do business is both necessary and imminent. The problem is that no one knows what form the change will take or how to bring it to fruition. This is not to say that people aren’t trying. Arts professionals are thinking, talking and doing all sorts of little things that are hopefully greasing the skids for what is to come. But if the change is going to come from an unexpected quarter, by definition there isn’t a lot anyone can do to control its emergence. Despite the best intentions and efforts to facilitate a transition, it could be a rather bumpy ride if people are concentrating their efforts in the wrong areas.

Core Narratives

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I try to avoid any mention of politics if it isn’t directly related to the arts but I have to say that the Republican National Convention going on right now is a great illustration of how marketing is the function of everyone in an organization. Members of political parties do this sort of thing almost as second nature but that seems even more reason why a smaller group working at an arts organization can’t mobilize themselves in the same way. It should be easier for the latter group to get themselves on message.

I think the convention activities also reveal the importance of knowing what elements comprise their core identity. Let’s face it, Gov. Palin’s daughter being pregnant out of wedlock diverges from the party’s usual narrative. Let’s not kids ourselves about how it would be exploited by proxies were the shoe on the other foot. However, the party has employed other elements of their traditional narrative to fend off criticism and show how it aligns with other things the party values. How effective it is depends on the listener I suppose.

I have talked about the value of consistently and perhaps somewhat subliminally disseminating a narrative about the arts and ones organization. It is probably no mistake that the last time I discussed this, it was also in connection with a presidential candidate. In cases of obscenity, you probably can’t deflect anger no matter how well you have developed the myriad elements of your identity. Performing artists have been identified with depravity and immorality since before the United States was born (at least from the European perspective). You may be able to blunt the strength of the ire by referencing your core narrative, however.

People being a diverse bunch, members of any group are not going to be able to conform to every ideal the whole espouses. There is always going to be one person who is less committed to recycling than everyone else. There are going to be people who are just a little too rabid about Led Zeppelin for the comfort of the rest of the fan club. And lets not even get into which Star Trek series/movie was the best. But as a whole, the group reinforces all they have accomplished on behalf of the environment and wildlife as outweighing the fact one of their members doesn’t redeem the five cent deposit on their Coke cans.

Never doubt the potency of a single/handful defining image for cementing your entity in people’s minds. When I was in 4th grade a kid who was generally a bully and gadfly was harassing me. I had enough and tossed him 5-6 feet across recess yard aided somewhat by muddy ground. Now it just so happened that my mother was substitute teaching that day and saw what happened on the playground and came running out saying, “Don’t pick on Joey.”

Somehow everyone forgot that my mother came out to defend me and focused on my “victory.” I never got in another fight or did anything to reinforce the idea of my being a brawler except that I was particularly tough to take down when we played Kill The Keeper. Yet in my first week in high school a guy who didn’t start at my elementary school until 6th grade warned people not to mess with me because I threw a guy 100 feet once.

While entertaining, perhaps the heroic tales of a 10 year old aren’t entirely applicable. I don’t really sit around wondering how much my reputation would have grown had I punched a few more people out in elementary school. We all have moments in our lives, where a pivotal moment defines our childhood, high school, college, volunteer, job experiences in our minds. The same can happen for organizations. You can get a lot of mileage out of the reputation garnered as the place Bruce Springsteen did a surprise show 20 years ago leaving dozens of people convinced they can die happy having been there.

You can’t always been lucky enough to have superstars secretly appear at your theatre but you can string lesser events together into a narrative you consistently repeat and reinforce at every opportunity through various media.

Well At Least The Musicians And Administration Are Getting Along

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This Sunday, Honolulu Symphony principal conductor Andreas Delfs expressed some strong sentiments about the way his organization had been treated by the city. The symphony performs in the city owned Blaisdell Hall and was bumped out last year by the production of The Lion King which did not help their tenuous financial situation in the least.

Said Delfs in the Sunday newspaper article,

“I’ve never worked with an orchestra that was so good and that got so little respect from its city. I’ve never seen a city treat a major cultural and educational asset so poorly. And I think it’s been a long tradition — I don’t want to blame anyone in particular — of taking this orchestra for granted and not realizing how good it is. The people who make our lives difficult don’t really know what we’re doing.”

One of the problems the symphony is facing is that the city is limiting how far out they can schedule dates which the symphony says prevents them from engaging guest artists who arrange their appearances years in advance. Delfs says it is because the city is skeptical about the symphony’s financial stability. Another thing that makes the symphony anxious is the looming threat of another extended run of a Broadway show that might displace them from the performance hall, and in all probability, from existence.

The symphony sent out a letter to its supporters asking them to contact government officials. The letter reiterated most of the details in Delfs’ interview and expanded on their perspective of the situation.

“Blaisdell Concert Hall was always intended to be the home of the Honolulu Symphony.In fact, it was one of the reasons for its construction. The presentation of symphony concerts was a major contributing factor to its architectural design. There are by-laws allowing for the Symphony and other local performing arts organizations to have preference in securing their dates.The City and County of Honolulu continues to negotiate to bring in acts during the Symphony’s prime season. By our rental agreement, the City is required to offer an alternative venue when the symphony is bumped out of Blaisdell Concert Hall.The alternative venue offered to the symphony is the Waikiki Shell which requires amplification, provides no outdoor coverage or protection for audience or orchestra, and is unsuitable for live classical symphony performances.”

However, according to an excerpt they quote from The Honolulu Symphony: A Century of Music by Dale E. Hall, the symphony doesn’t enjoy the same relationship with the city that other symphonies do.

“The Symphony is not a “favored tenant,” a status particular performing groups sometimes enjoy in city charters. According to the standard rental agreement, the auditoriums director “may give preference” to Hawaii-based non-profit organizations, but has “full authority” in scheduling, taking into consideration “a diversity of events” and “possible financial return to the city and the overall benefits.”

This is unfortunately the latest of many problems the symphony has faced since I started writing about them three years ago. It is something of a shame because unlike the recent situations in Jacksonville, FL and Columbus, OH, the Honolulu Symphony musicians, administration and board seem to be getting along okay. Feel free to correct me if I am wrong, but I think this is the first time a principal conductor has gone to bat for the musicians during the difficulties of the last few years. If any have, I doubt they had Delfs’ pluck.

(Though I wouldn’t doubt my Inside the Arts compadres, Messrs. Spigelman and Eddins would be equal to the task, I hope they never have to face this situation.)

I can appreciate the position the city is in. The face a choice between the income from a 6-12 week run of a Broadway show versus the uncertain future of an organization that has been facing an uncertain future and having a hard time paying the bills for a number of years. (Disclosure: They owe my facility money too, though not so much that we would refuse to rent to them once they clear their account.) It has been a long, anxiety filled period for a lot of people. I have a lot of sympathy for them.

Managers? We Don’t Need No Stinkin’ Theatre Managers!

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In my last entry I mentioned that I would make suggestions for those who might replicate planning exercise I went through at Performing Arts Center Eastside. You might notice I don’t say I will have suggestions on how to improve the experience. I think it is too early in the process to suggest improvements and as I am about discuss, what did happen exceeded my expectations.

As I was preparing for my trip to Bellevue, WA, my biggest concern was about how the participation of the Emerging Leadership Institute group would be received. There was no real precedent for anyone to base their expectations on. The Bellevue community had been planning this facility since 1988 and even if the majority of the board had only become involved in when the non-profit entity was formed in 2002, that is six years investment in planning and fund raising. How would they feel having a group of people making recommendations after only spending a weekend learning about their organization?

The same with the architects. They have a great record for designing splendid performing arts centers (check out the Alaska Center for the Performing Arts.) Would they resent us if we started criticizing their design? With all the information available to people via the Internet these days, it isn’t outside the realm of possibility that someone might have fancied themselves an amateur architect and rubbed the building designers the wrong way.

These concerns didn’t keep me awake at night and they really weren’t on my mind by the time we started examining the building design. There was a time during our presentation that I realized that not only were things going a lot better than I anticipated, but there was an unspoken positive, encouraging vibe in the room. Frankly, I was almost giddy with the idea that the process had gone so well because it bodes well for our future and the prospects for replicating this in other places.

Knowing that this might not always be so, I started to think about what things an arts organization could do to ensure things went smoothly if they tried to initiate a similar program. (Other than hiring all those involved at Bellevue, of course!) Probably the best option would be taking a proactive stance and brief all the constituents about what to expect and suggest how to participate most effectively. I have no idea if the people at PACE did any prep with the architects or board members. A comment John Haynes made at dinner made me suspect he hadn’t which speaks well for the open mindedness of these groups. John and Dana didn’t formally do any of the things I am about to suggest with the Emerging Leadership group except provide comfortable surroundings.

So yes, the first suggestion is comfortable working environment with an organized itinerary and breaks scheduled at suitable intervals.

Preparing stakeholders like board members and architects to prepare in a session with a group of advisers can be tough. They can be assured that none of the final decisions are vested in the advising group. Yet you have to go into the exercise intending to value the feedback you receive otherwise you are just wasting everyone’s time. This certainly means you have to be prepared to consider what you might perceive as negative. As people who have just joined the project and aren’t familiar with the intent of every design element they may indeed offend you with what they perceive to be an innocuous comment.

So local constituents should be encouraged to value what is being suggested, try to perceive the basic motivation for advice and respond with a question to clarify that motivation. “So your concern about our plan to have the noon sun fall upon our founder’s bust on her birthday is that it limits the windows, and therefore, natural light in the lobby and creates a dark, unwelcoming atmosphere?” Certainly the board and architects have every right to expect people to back up criticisms with constructive suggestions. Given that the advising group may have only been around for a few days and are not familiar with all options, an answer that they don’t know what a solution might be also has to be respected. This doesn’t mean the concern isn’t warranted and bears additional thought and consideration.

For their part, the advising visitors should probably assume a generally neutral stance. They shouldn’t be looking to evaluate if their facilities and organizational plan is superior or inferior to that of their hosts. We have all met and probably grimaced at the person whose every suggestion is prefaced by “where I used to work, we…” While they have certainly been invited because of their prior experience, that experience isn’t going to define the new organization. Likewise, while improvements a new organization is effecting can lead to a better experience back at the home organization, there are only so many resources available. Again, you can’t define one organization in the exact terms of another.

Nothing I am suggesting here is terribly groundbreaking. They are all based on standard suggestions for listening and responding in meetings. Additional tips for preparing groups to meet could certainly be found in books and magazine articles. Probably the most important suggestion is not to make value judgments about any aspect of the project — “That’s stupid; “The building looks like a warped artichoke” (which I heard about this place); “You are an idiot and clearly have no sense or experience in these matters,” etc., If anything is going to generate resistance and resentment, it is statements in this vein.

My suggestions assume everyone is arriving at the meeting with the best intentions but with the possibility of things going awry. If there hasn’t been buy-in from all involved parties or one party is seeks to use the exercise as leverage over another, obviously there are deeper problems than can be solved by good meeting preparation.

Audience Theory

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As wonderful an opportunity it was to influence staff workplaces, those of us in the PACE advisory group still understood that the success of the building would be in how comfortable audiences were interacting with the space. When I was preparing to travel to Bellevue, I was mindful of Andrew Taylor’s observations wandering around the streets of Denver at the National Performing Arts Conference that

“block after block of glass or stone walls at the street level, many of them without a door (at least an open one) for hundreds of feet at a time. As a result, there are very few people populating the street, stopping to talk with each other, people watching, lingering, and realizing they’re in an urban streetscape of diversity and energy.”

I approached the facility design with the intention of insuring the building appeared engaging to foot traffic since there are quite a few residential complexes being constructed nearby.

The importance of physical design was actually reinforced for me as we walked to the meeting with the architects. About four-five blocks from the future PACE site, we passed a small area next to the sidewalk with hedges and benches. There was a sign noting that the area was open for public use. I would have never known that because of the way the hedges and a short set of ascending stairs lent it a sense of being private property. Because of this they had to essentially grant people permission to enter.

But to back up a little…. I had mentioned earlier that Alan Brown made a presentation on the value of live performance. Obviously, it is in relation to the audience’s experience that his thoughts are most applicable. It wasn’t until after his presentation that I realized how significant a moment in the design process it had been. The architects and project manager had never really had these ideas addressed in connection with their work before and so were pretty attentive and taking notes. The same was true for a couple board members who were present.

Of the concepts he covered, a number of them caught my attention. The first was his suggestion that interactive experience the Nintendo Wii offers predicts one day being able to virtually perform with Pilobolus. Since he is the first person I have met who has advanced this idea since I began promoting it in 2004, he instantly endeared himself to me.

He also addressed the situation where people were waiting longer and longer to buy their tickets. He spoke of a focus group where he basically discovered young people were afraid to buy a ticket until the last minute because committing to one option closed the door on all the other possibilities. I wondered if this was an element of Generation Y’s problem with decision making.

He said he asked them to describe what they would envision as a perfect jazz club. They said it would be a coffee house during the day but a bar at night with a separate room where those who wanted to be full immersed in the music could go. However, there would also be an anteroom where people could talk with friends and still listen to the music and still another anteroom where people could interact with friends more and listen less.

It seems like a tall order to design a building to provide this experience. However the impression I took away from what Brown had to say was that people at every age really desire an experience at an intermediate stage between listening to a recording and fully attending a formal concert. He described this as a place to drop in and hang out and get more information. One suggestion he made which he certainly did not represent as encompassing all possibilities was having kiosks in the lobby where one could try all sorts of new music. (I imagined something like the listening stations in record stores.) Having a DJ mixing in an area surrounded by comfortable lobby furniture.

Alan Brown’s presentation had a tangible effect on the discussions that followed. The building design already allowed for many of the activities he mentioned so conversations revolved around the possibilities. This is fortunate because if Brown is right, there might be an increased necessity of having such a space as venue for value added benefits. Acknowledging that there are some people who are voracious for an educative experience, Alan Brown proposed that while arts organizations gave education away for free as part of their mission, he suspected people would pay a premium for a private, executive briefing on events.

I have read and heard suggestions that were related to the core idea behind this. There are some complexities to this that I haven’t fully considered so I don’t quite know what I think about this. I suspect for some communities and organizations, he is right on the money with this idea.

As you might imagine from the thought the PACE administration put into the staff work areas, there had been some investment into the design of the public areas as well. As I already mentioned, the layout lends itself to sponsoring some of the programs and features Alan Brown suggested. Some other notable concepts they had were arranging the ticket office so one’s experience was more akin to interacting with a concierge than a reinforced security checkpoint. They have also looked into situating the restrooms so that the lines at intermission don’t become the half time show.

Our advice seemed to be viewed as insightful and even viable within the overall plan and budget. I am demurring on many of the details because so much is undecided at this stage in the game and I don’t want to create any unwarranted expectations about the ultimate result. Participating in the process was very exciting and engaging. While our status as outsiders lent some weight to our observations, Alan Brown’s occasional, but well timed comments lent some reinforcement.

Believe it or not after all this writing, I still have some additional observations to make! My next entry will have some really basic suggestions for those who might want to replicate this exercise.

(Details of this entry have been altered since the original posting to comply with confidentially agreements)

If You Build It, They Will Work

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To continue in more detail from yesterday’s entry, one of the things about the PACE construction project was the consideration of workspace that had gone into the planning. It was the first area we were asked to assess. One of the problems with the office space in a lot of performing arts facilities is that they are almost inserted as an after thought into the design. Ticket offices especially seem to get the short shrift especially in light of the fact they are the location where 90% of interaction with the public transpires. You want to improve customer service? Try knocking out a few walls and giving the ticket office personnel some room to work!

The placement of staff in relation to each other is an important consideration. A gentleman from Iowa whose offices were inundated by the floods earlier this spring/summer talked about how the dynamics of staff interactions had changed since their temporary quarters forced them to all work on the same floor. He noted what an impact a single set of stairs, or lack thereof, can make.

Much of the conversation was general covering the theoretical needs of each department based on people’s experiences at their home institutions. Some positions need privacy to discuss details. Some need secure storage for personal and financial information. Some, like graphic designers, need to have access to natural light and perhaps control the lighting in their space. The question arose, since you can’t put all the department heads and their support staffs in one place, is it theoretically better to have the department head near the executive director or near his/her staff?

This would be especially true for marketing. If the organization operates under the philosophy that marketing is the job of everyone in the organization, they should have prominent placement in the facility. In a presenting organization it was also felt that the programming person should be in close proximity to keep lines of communication open regarding the viability of promoting different artists. The counter argument to this was that creative types, including the marketing director, tended to thrive in less formal environments than existed near executive offices. Ultimately, the consensus from the marketing people in the group was that they would suffer the neckties if it facilitated the marketing department’s activities.

My stints in marketing departments seem much more straitlaced by comparison. I feel deprived. This was one of the places where the direct value of participation in the project to professional development started to coalesce. At conferences we talk about how to attract audiences to our theatres. What we don’t get a chance to share is how we have arranged our work environment to enhance interactions among staff members.

An observation that continued to be mentioned was that whatever arrangements and organizational culture emerged in the first few years would become the founding precedent for the next 40 years. It can’t be easy for the people at PACE to make these decisions with the awareness of the possible repercussions lingering at the edge of their thoughts.

Some details of this entry have been changed since original posting to comply with confidentiality agreements.

Why Haven’t We Ever Done This?

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I spent the weekend in the Seattle area participating as a lead partner in the very first stages of a pilot program where emerging arts leaders provide input on the construction of Performing Arts Center-Eastside (PACE) in Bellevue, WA. I had noted my participation in an earlier entry if you would like a little more information.

I intend to spend the next few entries reflecting on the experience. However, since everyone hopes this program can be replicated for future construction, I am going to summarize the major activities in today’s entry. Anyone considering using the process during their own construction or major renovation project will have an easy reference to the basic outline.

I want to acknowledge and give a lot of credit for the creation of the program to PACE Associate Director, Dana Kernich. She brought the whole concept to Executive Director, John Haynes and then did a lot of the organizational work to make it happen. When I was advocating more professional development opportunities for the alumni of APAP’s Emerging Leadership Institute, this program barely hovered at the edge of my mind as something that might be possible.

Obviously, I also need to acknowledge John Haynes for embracing the idea and committing resources to it. It was not a cheap undertaking. PACE flew 10 of us out, housed us and fed us (and it wasn’t at Sizzler though we would have been happy for it). Haynes told me he still saw it as extremely economical. He could have spent the same amount on a week long consultant visit but he was getting 10 consultants committing themselves to providing feedback for about 3 more years.

Haynes also observed that while consultants and architects are absolutely invaluable to the construction of facilities, once the job is done they move on to the next job and aren’t involved in the experience of inhabiting and working in the space the way arts professionals like ourselves are. In this respect was expense worthwhile. (Lest anyone think they will be ignored, there have been and will continue to be discussions with artists who have experienced performing in many spaces.)

The Process

We started out with a tour of the region so that we could get a sense of the physical environment in which the PAC would operate. Traffic isn’t getting any better in the region especially with the likes of Microsoft and Google expanding their physical presence. When we returned from our tour, John Haynes gave us a briefing on the history, audience demographics, vision and financial issues for the organization.

After that we participated in a panel discussion on the Regional Arts Ecology attended by the Executive Directors of the Bellevue Philharmonic, Kirkland Performing Arts Center, Seattle Theatre Group and 4Culture. This was a very interesting session to me on a number of levels. First, I appreciated the thorough job PACE was doing in educating us. But also, while 4Culture is a funding organization and Bellevue Philharmonic will find a place to perform in PACE, the other two could easily find themselves competing with PACE for audiences and artists. They might all end up competing for funding. Their observations and answers were great in terms of providing outside parties’ view of the environment in which PACE would operate.

That evening we had dinner with the facility architects, Pfeiffer Partners. This was more of an informal meeting than any type of presentation.

The next morning began our “work day” where we started to provide feedback in the context of what we had learned. It had already been clear to me how important PACE viewed our participation given all the people they arranged for us to meet including having the architects come up from Los Angeles. But what really impressed upon me just how innovative and important this pilot program might be was the fact Alan Brown of Wolf Brown was there. Apparently John Haynes had mentioned the project to him and he asked if he could be present and observe.

The day started out with Mr. Brown discussing Cultural Participation. This was derived from the research he had done for the Major University Presenters on Assessing the Intrinsic Impact of Live Performance. I had gotten the audio from a session he and the other researchers had conducted at the APAP convention but I was still jotting down lots of notes. Perhaps more importantly, some of PACE’s board members were present and doing the same. Again, I will expound on this in later entries.

Then the architects conducted a design charrette discussing their philosophy for the facility as well as noting the way they had dealt with challenges and benefits of the physical location. One of the most helpful things in the discussion was the models they brought. One allowed us to remove each floor piece by piece and another was large enough to stick our heads into to get a sense of things.

At this point, everyone except the 10 lead partners left the room and we engaged in a brainstorming session on the design. Haynes asked us to limit ourselves to three areas since there were so many directions we could go- Assess how the building functioned as a workplace, how it facilitated the patron experience and how the “machine” of the building worked (i.e. can a dumpster be rolled outside and not have to go through the lobby)

When the allotted time expired we presented our thoughts to the architects, members of the building committee, Dana and John. As you might imagine a great deal of discussion followed. However, our observations appeared to be valuable to all involved since one of the architects asked why no one had ever done this sort of thing before. (Thus the title of this entry.)

After things wrapped up we went out for dinner with Alan Brown and all flew out the next morning. As I noted in my earlier entry on the project, this weekend was just the first stride in a three year journey. It merely provided the context for conversations and exchanges of information channeled through a blog entries and emails over the next three years. My intent is to reflect upon the experience this week and across the next few years. Even with the strictures of the confidentiality agreement, there are enough general observations about the process I can make to be valuable to others.

Media Using The Masses

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It appears as if the mainstream media has gone from glaring at bloggers to embracing some user generated content, perhaps at the expense of their employees. I am beginning to suspect some outlets have realized they could tap in to people’s desire for 15 minutes of fame as long as things ran through an editor for quality control. About a year ago, I started seeing the press releases I sent to the arts editor appearing verbatim in the neighbor specific inserts of the newspaper. I would still get a calendar or photo listing in the paper proper and maybe even a feature story if I was lucky. I have had my releases appear verbatim in smaller weekly papers, but this was the first time it was happening in a major daily.

A little later a mechanism appeared on the newspaper website encouraging people to submit stories of their own. Then a heck of a lot of people were laid off at the paper. I don’t know if there was a casual relationship or not, but I began to wonder if my attempts at promoting my events was contributing to pink slips being issued.

Last night I saw a promo on television announcing a new program the station news department was starting involving citizen contributions. There was nothing on the website despite their encouragement to check it out for more information. I think it had something to do with weather. I wouldn’t be surprised if some point in the next five years they started soliciting people to submit video reports.

Last month Salon.com started Open Salon where they will actually pay people for creating content.

What does this mean for you?

Well first, people may expect more opportunities to interact and contribute in your events.

Second, you may never know when the newspaper critic is coming because it could be anyone in the audience and a totally different person from last time. On the other hand, if you have a popular show you may hear from 10 people who intend to review your show for the newspaper and want free tickets (and still have an unknown 11th person’s critique printed).

I also imagine that some artists will anticipate expectations and you may find the type of shows they create/offer for performance at your venue beginning to evolve. I have spoken about how people may not be content with the passive experience sitting quietly in a dark room watching a show any longer. As much as I expect audiences to demand more, I also expect artists to start to provide more. As always, some will do it better than others.

In the short term though the implications of media outlets using exactly what you send them are that you better be making a compelling case for attendance. No longer are you trying to convince a writer your event is worthy of a feature story or review and depending on them to conduct interviews and recast your event in an interesting manner. Now what you write has to do both these things. You may not have the alternative of writing two releases, one for the editor and one for publication as is. I have had an editor take a single press release, assign a reporter to follow up to generate a story and forward it to be printed verbatim by the newspaper. It happened at least three times last year.

If you don’t know how to start writing compelling entries, you may want to check out my entry here. Because Artsjournal.com has changed the way they address their archives, those links to Greg Sandow’s blog don’t work any more. However, if you go to the May 25 -June 15, 2005 entries on his blog, you can probably find them without too much effort.

What Can NCLB Do For The Arts?

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It occurs to me that there is a lot of talk about how No Child Left Behind is eroding the arts in schools. Field trips and outreach programs are curtailed or eliminated. Arts classes disappear in favor of more instruction in test subjects. Recess time is likewise dwindling. (If you are wondering about the connection, I got my first black eye in 5th grade when we recreated the rumble scene from West Side Story. Kids still recreate cool scenes from musical theatre during recess don’t they?)

But it got me thinking, to be fair do the arts gain anything from NCLB? Lets face it, the arts were getting the short shrift in schools for a long time before NCLB. We claim that music classes help kids with math. Does math in turn help kids with music. Does a good foundation in math help visual artists understand scale, ratio and proportion better?

In terms of reading and writing, obviously the arts can benefit from people who have a high level of comprehension and ability to express themselves well. We can hope these things provide basis to transition from reading well to being well read and possessed of critical and analytical thinking skills. Trading out social and hard sciences to make room for more math, reading and writing may make these skills harder to acquire. If NCLB does cultivate higher quality students then it would certainly be a pleasure to see students enter college without the need for remediation.

There are a lot of people who don’t feel NCLB is going to produce a generally higher quality student which bodes poorly for every industry in the future. If you were going to fight to get the law changed, how would it be improved to benefit the arts? More arts exposure is a given, but what else do you fight for? An excellent artist really can’t develop in a vacuum only experiencing arts classes. And what if you are told arts classes are definitely off the table in this new law? How do you salvage things and make sure students gain the knowledge and discernment they need to be artists via other avenues? What’s more, artists shouldn’t have to operate in a vacuum either, what do you advocate for that will help students become appreciators and consumers of art as they proceed through life?

What Value The Compact Disc?

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Occasionally it is healthy to revisit daily rituals and practices to evaluate if they are still pertinent. For example, every time I go on a trip I clean all my CDs out of car and leave the little door on the CD holder open to show that there are no CDs in my car. It recently struck me that in the time since I bought the car several years ago, the value of CD as a format has dropped so precipitously that no one really wants to break into my car to grab them. In fact, they probably didn’t want to when I bought the car either but the iPod has gone from competing to almost default format in that time.

Realizations like this make me re-examine stuff in my professional life including policies we have set for ticket purchases/exchanges, seating, volunteers, rentals and whatever else comes up. Because we have always done it can’t be the default excuse for continuing to do something. In many cases, because we did it last year might not be valid either as behaviors and values change so quickly.

On the other hand, just as there are still people desperate enough for the few bucks they might get for my CDs at the local record exchange, the cost of someone abusing the lack of a policy might still outweigh the benefit of eliminating it.

No Lack of Power Had They Lacked Power

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I hadn’t intended to watch the Opening Ceremonies of the Beijing Olympics but then I saw the footage of the rehearsals Korean television “leaked.” I was so intrigued, I got up at 2:00 am hoping to watch the ceremony streamed live. Unfortunately, NBC chose not to do so. I would have been happy to watch it with commercials inserted. Nor could I find any other source, including China’s CCTV that didn’t forbid me due to my geography. Instead I had to wait 18 hours.

I am glad I rushed home from work to watch it Friday night. I was flabbergasted at the scope and pageantry. What surprised and impressed me the most was the precision execution of things like the drums in the opening segment and the taiji players who formed perfect concentric circles without any spike marks on the floor. What left me agape was the movement of the printing blocks. I thought they were computerized hydraulics or some such until I noticed there were legs under there as the cubes rose. This was a good 2-3 minutes before they revealed that fact. There are some great still photos here.

I imagine that the London Olympic Committee was gulping at the thought of having to follow that. I have to admit the torch lighting was pretty anti-climatic in comparison with the rest of the opening ceremony. I was expecting a dragon or a phoenix to emerge to ignite it. (I have since read that the IOC requires an athlete to do the honors.)

What I liked most about the Opening Ceremony as an arts professional was that the focus was so much on the abilities of the performers. If the projections on the side of the building, the LED screen scroll on the floor and the computer enhancement of the fireworks had failed, it would have still been a superlative performance. If all the power went out so that they flying couldn’t happen, the fou drums were darkened and the globe couldn’t rise from the floor, it would have still been impressive.

I have worked in technical theatre where they are fond of pointing out that without them, the actors would be flailing around and speaking into the darkness. The truth is, if China decided to start at 8:00 am instead of 8:00 pm and planned on using natural light people would still have been wowed by the performance. (The sun was rising at 4:30 am when I was there so they would have had a fair bit to work with if the stadium walls were open in the right place.)

To my mind, China did the arts world a great service by emphasizing the power of live performance and exhibited what can be accomplished in that format. (Though granted thanks to a whole lot of money.) The reality was that even with all the rehearsals and training that made such precision possible, people still got injured. That too is a hazard of live performance and as much as we may like to sell the idea of the possibility of danger at our shows, it isn’t something we actually wish upon our performers. It is easy to blame China’s low safety standards. I might have done so except that I heard something similar nearly happened this weekend because someone neglected to secure unused equipment.

My blog is about the arts and though it might get me more readers, I stay away from politics and other matters. The controversies surrounding these Olympics loom too large not to at least acknowledge they exist. The optimist in me hopes for China it is just a matter of making up lost ground. Two days before the 1932 Summer Games in L.A. the U.S. Army conducted a bayonet charge on their own WW I veterans backed by tanks and didn’t have a very good record on the treatment of minorities. That same year, China was dealing with Mao in one part of the country and Japanese occupation in another. The US emerged from the Depression and gradually moved forward on social fronts. For China there were impediments to progress from within and without.

For the sake of all the wonderful people I met in China, my hope was that the opening ceremony was a grand declaration that the country had finished regrouping and was embarking on a campaign to be regarded once again as a giant of culture, learning and invention.

Never The Twain…

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Like a parent that doesn’t like to see the kids fight, I get uneasy when I see arts groups competing with each other for limited resources when they could be collaborating at least partially with their efforts. What really makes me uncomfortable is getting caught in the politics between them. This afternoon I had a group call to inquire about renting the facility. After I sent them an application they apparently sent out an email blast adverting that they were doing the show. (They shouldn’t have until they got approval for their event but that is another matter.) I get a call a few minutes later from the leader of the group the applicants split off from asking if it was true we had a show going on that night. His group does a show here every year and from the subtext of his questions, I guess he sees his splinter rivals as a threat.

I have frequently mentioned differing opinions about interpretation or what subsection of a discipline to emphasize as a basis for creating a separate organization but I don’t know if I have ever addressed the motivation of raw drama. Unfortunately, there are plenty of instances where dislike for others has caused a schism in organizations.

I will concede that sometimes it is healthier to split off rather than continue in a bad situation and that it can result in a stronger organization. We do have a case where we deal with an original group and a group that split away because they felt the parent group was too disorganized. I can attest that the splinter group is indeed much more pleasant to work with because they are organized. (They also pay their bills on a timely manner!)

In the majority of cases I have come across, the separation dilutes the effectiveness of each entity. I was talking to a gentleman with a long institutional memory who told me that locally when Federal funding for a WPA-like arts program ran out those involved in a dance company split into smaller groups, many of which replicated the efforts of the others. Even though the fragmentation was generally amiable, the result is that every Christmas brings 4-5 competing versions of The Nutcracker. Some versions are more family friendly than others which serves as a good alternative to the one very formal production which appeals to the aficionados. That still leaves 3-4 groups competing for the family audience and it shows in some of the attendance numbers.

Passion and anger has been known to inspire works of art but more often it seems to spawn unimaginative polemics. There is nothing stopping either from filing for non-profit status and soliciting grants to support their work. As a funder or patron It is rather difficult to discern among those who are in conflict whose ideology is more pure and sincere. A friend gave me a tour of her town once and pointed out the homes of two theatre groups noting that the community wasn’t really big enough for both though they were rivals whose bitterness was sometimes played out publicly. One was slightly more successful but the other enjoyed the largess, and accompanying cachet, of a well known film actor. As a result, neither needed to make peace with the other though they and the community might be the better for it.

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Butts In The Seats by Joe Patti is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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