Not So Strange, But Does Require Effort

by:

Joe Patti

Non-Profit Quarterly made a post in May that just came across my social media feed today about a weekly Zoom call 200+ arts organizations in NYC are having in order to share information during Covid-19. Ruth McCambridge links to the New York Times piece that reports on this effort.

I have to admit I initially bristled at McCambridge characterizing the NYT article reporting on a story that is “pretty strange” because:

It appears the pandemic has created a sudden realization among the city’s arts organizations that they need one another for advice, counsel, and support even while they take one coronavirus-related hit after another. That has led to a daily Zoom call with around 200 leaders in attendance, coming from groups large and small and spanning organizational types.

[…]

Pogrebin finds it “notable how much they are actually acting these days like the ‘arts community’ to which they often aspire.” We call it something of a small miracle, which we think we may be seeing a lot more of as advocacy and mutual aid look increasingly central to not just our survival, but our evolution in a new landscape.

I have been regularly participating in on a number of those calls myself so I will admit that there is more coordination and information sharing across disciplines than before. It is definitely beneficial to everyone involved.

However, over the course of the last 15+ years, I have been part of organizations comprised of arts and culture entities whom regularly shared information and even engaged in cooperative grant writing. I am sure many readers have similar relationships. You know, the ones where you receive important information, but also multiple people feel their one word reply “Thanks” should go to the entire group rather than to an individual.

While I do agree with the proposition that it would be a shame these cross-disciplinary conversations faded away when the crisis passes because we are seeing greater cooperation and community than in the past, I also feel like the idea this coordination is novel news doesn’t given non-profit arts & cultural organizations credit for progress made over the last couple decades.

Also, were there a lot of commercial entities who were having conversations like these that non-profit arts organizations have been eschewing?  It seemed perhaps there was an implication of some norm that existed that cultural organizations are finally participating in. Non-profit folks are networking and sharing information at conferences, chamber of commerce meetings and rotary meetings, etc just like everyone else.

I will say though, it can be really difficult to make sure you are invited to the right meetings. If you look in the comment section of the NYT article, people were asking how they could join the call because the information wasn’t public. You had to know someone in order to receive the meeting link.

That dawned on me about a month ago as I bounced from one Zoom meeting hosted by charitable foundations to another Zoom meeting of local live event organizations (concert venues, sports teams, bars, etc.). I realized a number of people in the meeting I just left weren’t invited to the second meeting where topics like the governor’s orders on public assembly are discussed. I asked for about 20 additional groups to be invited to that second meeting and did see about eight show up to the last meeting.

Bottom line- regardless of my perceptions of how these meetings are characterized, an effort should be made to ensure they continue past the current crisis. Which means people who are invited need to commit to participating rather than blowing the meetings off. Just as important, we should continually be thinking about who might benefit from these conversations and take steps to see they are invited.

 

Yeah, I Have Weird Feelings, Too

by:

Joe Patti

Hat tip to the National Endowment for the Arts for linking to this video of an 11 year old taking The Bob Ross Challenge – basically trying to keep up and replicate Bob Ross’ painting instructions as he relates them during an episode of his show.

The kid, Khary Halsey, an avowed Bob Ross fan since he was six, is charming and hilarious just on his own. But it is right at the end of the video that he says something that encompasses what the creative experience should be for everyone, “From the looks of it, I did horrible, but I feel great.”

Okay, so obviously people shouldn’t always think they did horrible, it is the satisfaction and enjoyment of the experience regardless of the perceived quality of the product that I am advocating as the ideal.

Khary isn’t sure if he is supposed to be having this contradictory experience so he follows up saying, “I have weird feelings.”   The truth is, those feelings are quite normal and shared by a lot of people, including, I am sure many with long careers in the arts.  There are a lot messages we get throughout the day, both overt and subtle,  that equate quality with marketability. (And don’t get us started on “you shouldn’t expect to get paid if you are having fun.”)

Culture Track Report Says The Same People Won’t Be Returning

by:

Joe Patti

You may have seen the news today that the results of the Culture Track Covid-19 report were publicly released today. While some of the data about audience willingness to return to arts and culture organizations is a little dated due to the survey being conducted at the end of April through May 19, the majority of the findings can be very valuable to arts and cultural organizations.

They had only expected about 50,000 people to participate but had over 124,000 respondents to the survey. Participants ranged from knitting groups and walking clubs to organizations you might typically associate with arts and culture activities. Back on June 17, Advisory Board for the Arts hosted a webinar where staff from Slover Linnet and LaPlaca Cohen gave an early preview of the results to organizations that had participated in the study. If you want a deeper view of the results, you can watch the webinar.

The infographic layout of the report that came out today does a good job presenting the data, but there is one thing I don’t think they made clear enough which may cause people to question the results. Especially since the methodology is explained in a separate document rather than included as an appendix to the Key Finding report.

Since so many of the respondents were people on the mailing lists of arts and culture organizations around the country, you would correctly assume that it might skew the data. The Culture Track folks worked with another organization to distribute the survey a representative sample of the US population. The results you see in the key findings report are weighted to be representative of the US population.

The webinar presents both the core subscriber/ticket buyer response percentages and weighted percentages.  While the core supporters are much more likely to say the arts are important and worthy of preservation than the general population, they also more likely to expect organizations to implement strict health and safety protocols upon re-opening.

A couple of the bigger takeaways for me:

• People said they were feeling lonely, bored and disconnected and one of the things they missed most was sharing experiences with family and friends. In the webinar, the presenters suggested if there were a way for arts organizations to digitally allow people to share experiences, it would potentially serve a large need.

• Something to keep in mind is that people may want a much more interactive experience in the future. 81% of respondents said they were doing something creative while quarantined. Cooking, singing, handcrafting (knitting, painting, pottery, woodwork, etc), photography and writing were among the top responses.

• Many people were engaging in digital cultural experiences in the 30 days prior to taking the survey. In the webinar, the speakers noted that the demographics of people participating digitally was more diverse in terms of education, gender, race/ethnicity than those attending in person. They suggested that digital content might be a way to attract more diverse groups to in person experiences over the long term. (Obviously online content needs to align with an in-person experience–including how welcome one feels.)  There are also some who appreciated digital content as a solution to concerns about affordability, transportation and schedule.

• Unfortunately few people reported paying for digital content. In the webinar, they said 2% of people reported they paid for digital content, but in the Key Findings report that came out today, it says 13% have paid for content. It made me wonder if they received additional or corrected data since June 17. Most of the other numbers I was using to cross reference the webinar and Key Findings report remained the same.

• In general, what people crave the most upon an anticipated return to in-person experiences is ability to enjoy oneself/de-stress in the company of family and friends.

Obviously, a lot of nuance and detail not included here so take a look at the report and/or webinar. Overall the the title of this post reflects the reality of the next normal. Those that physically engage in-person won’t be the same as before in both the literal sense demographically and metaphoric “no one can enter the same river twice” sense. The faces may be familiar, but they will have different expectations.

 

 

Delay May Appear Wise, But Is The Outcome The Same?

by:

Joe Patti

Interesting short piece on the FastCompany website that points out the current uncertainty about the future created the the Covid-19 pandemic makes deferring on a decision seem the wise option, however there is always a cost associated with delaying on that decision. The author of the piece, Art Markman, says that because deferring the decision seems so attractive, people don’t actually think through whether the delay will make any difference or not. (my emphasis)

Leaders might think it prudent to wait for more information about the status of the pandemic before moving forward. However, it is always worth making a decision tree to determine whether a different decision would be reached in each of these conditions. Key leaders do not always take this step. In some cases, leaders might find that the best outcome is actually the same regardless of the status of the pandemic. In that case, deferring the decision would involve paying a cost to defer the decision in order to get information that does not change the decision that gets made. There was no reason to incur that cost.

I haven’t come up with a scenario other than capital improvements/repairs and staffing decisions in which this might apply to arts and cultural organizations. I may be too entrenched right now  in thinking about the pros and cons of re-opening venues in the context of economics and public perception/willingness to broaden my imagination. However, I figure some readers might be in situations where being reminded to make a decision tree might be useful for helping move things forward.