Real Men Draw Superheroes

by:

Joe Patti

An interesting article in Pacific Standard came across my feed in the last few weeks. It suggests that male disinterest in the arts is a result of social pressure to conform during the early teen years.

Author Tom Jacobs was reporting on a study involving 5227 students in Belgium, which found:

The results: “We found that the more typical a male adolescent considers himself to be, the lower his interest in highbrow culture,” the researchers report. “The more gender congruent a female adolescent is, the higher her interest in highbrow cultural activities.”

Perhaps more importantly, they found “the more pressure for gender conformity a young man experiences, the lower his interest in highbrow culture.”

Young women under similar conformist pressure were more interested in cultural activities, but only to a small degree. This difference reflects the fact “it is more difficult for young men to like an activity perceived as feminine than it is for young women to dislike a feminine activity,” the researchers write.

If you are like me, you may have caught the repetition of the term “high brow culture,” and wondered if perhaps the results would have been different if they changed their definition of art.

The categories they surveyed on were “making music, studying drama, painting or drawing, attending plays or dance performances, using the library, visiting an art museum, and reading.” While these don’t seem inherently highbrow I wondered if the Dutch terms they used had certain highbrow connotations.

One of the article commenters, Ginnie Lupi, (who, on closer inspection, I see is the Director of the NH State Council on the Arts), said much the same thing:

“I agree with the study designers in the need to focus “on topics that are closer to young men’s interests.” We’re going to keep getting these kind of results if we continue to cleave to an outdated definition of the arts. Maybe some of the questions should have involved video games, reading comics and drawing superheroes?”

Drawing superheroes especially resonated with me. My friends and I used to draw all sorts of sci-fi and superhero battles as kids. If you had asked me if I had any desire to hone my skill to become better, I would have said no.

However, if you were able to draw me out into a conversation and asked me why I liked to draw these scenes, I might not have been the most erudite, but I would have given you a sense of how it helped me connect with my imagination and with my classmates who were doing the same thing.  That could have provided the basis of further conversation.

Now granted, I went into the arts so I probably didn’t need that further conversation, but discussions like that can provide good opportunities.

We Accidentally Built An Arts And Community Space

by:

Joe Patti

This really great story on the Americans for the Arts blog caught my eye that I would label as unintentional placemaking. Though I could think of other apt terms.

Douglas Sorocco writes about how Oklahoma City law firm Dunlap Codding built an arts and community space as part of the construction of their offices.

Except,

…to be completely honest, “decided to build” is a bit misleading. We didn’t expressly set out to build an arts and community space. Like most creative endeavors, the concept evolved over time and in response to observations of our community’s needs. Our original blueprints called for a full kitchen/breakroom. An imposing commercial overhead garage door existed in the area and, thinking ourselves clever, we decided to replace it with a glass door to allow for natural light and fresh breezes. Of course, we didn’t want to look out the door at a parking lot filled with concrete—so an urban green space was necessary…In the end, we created a kitchen and indoor event center that opened to the outdoors—complete with modular tables and reconfigurable seating.

Having initially designed the infrastructure for our staff’s use, we soon realized that it would be empty 99.9999997% of the time—OK, maybe only a slight exaggeration. It seemed wasteful to create such an inviting space and leave it fallow…An off-hand comment made by a young creative resonated with us: “While community doesn’t need a space, it doesn’t hurt to have one.” We decided to make our space available. Rather than saying “no,” we simply said, “why not?”

Use of the space is free for community groups and $20/hr for private events. Sorocco says they initially had to coax people into using the space, but since then there have been over 1200 events, including a music series which they have underwrote.

The reason why I wanted to call attention to this wasn’t just simply because they were generous enough to open up a space intended for staff to the community, but because it even entered their minds at all.

I saw it as a positive sign that their mindset was attuned to the possibility employing the space to this purpose. Typically, a business that was inclined to support cultural and community events might make donations, advocate for their staff to volunteer their time, participate in a 5k walk/run, etc., People will laud them for their generosity.

No one is going to reproach a business for keeping their awesome employee lounge to themselves. It takes some flexibility and creativity to look at employee lounge, decide it is being under utilized, see the opportunities, and make the effort to share with others.

Don’t Deny Your Creativity!

by:

Joe Patti

Earlier this month, Kathryn Haydon addressed the insidious personal belief that one is not creative.  I use the term insidious because I view the belief as something that undermines something essential about a person. While belief that one does not draw well may be erroneous because you haven’t given yourself time to develop the skill, denying you have the capacity to be creative denies something that one possesses almost naturally at birth.

While you may have to work at getting better at a certain set of skills as you get older, Haydon cites studies conducted with the same subjects over a period of decades that almost seems to show people work at being less creative.

Basically she says people perceive themselves as being less creative for two reasons- they compare themselves to those held up as examples of creativity and they fear judgment for being wrong.

It just might be that the main reason you think you’re not creative is because you compare yourself to others who are famous for their creativity (Steve Jobs, Pablo Picasso, and Lady Gaga) or to people in your own life who are known for their creativity.

When you’re in a comparison mindset, you inadvertently diminish your own creative ability. You envision Picasso and your highly divergent friends on a pedestal that you cannot possibly ascend.

[…]

Society has perpetuated the myth that creativity has to be comparative, and if comparative, mutually exclusive: “If Picasso is creative then I am not.”  This reasoning is incorrect.

and later,

…fear is the only thing standing in the way of training it back. (Fear can also come in the form of saying, “I’m not creative” to protect yourself from risk. You now know that this is false, so if you keep using this line it is heretofore a cop-out. Everybody is creative.)

It is no mystery that society and our educational system emphasize discovering the right solution rather than discovering the creative solution which stacks the decks against creativity.

In order to get back in touch with your creative ability, she suggests some exercises like “Try thinking like someone else: an alien, a rock, a stray cat, a high school math teacher.” She cautions against deciding to go all-in, 100% on creativity in one shot like a resolution to start a diet on Monday.

In other words, don’t let the first risk you ever take be taking out a second mortgage on your house to try a new business idea. Start instead by doing something that gives you slight discomfort, like driving a new route to the grocery store or sharing an unconventional insight in your next meeting. As you practice taking small risks you will become more comfortable sharing the fresh perspectives that you have gained by practicing your creative thinking.

For people in the arts, talking a new route to work may seem a little elementary a step, but for some people it might be a significant step. It could be a version of “failing fast,” especially if they turn off the GPS while taking an unfamiliar route.

The strategies for cultivating creativity are all just on a relative scale of risk taking and potential failure. For an arts organization it might be new programs. For an individual, it is looking at something with a new perspective.

This Isn’t Your Grandpa’s Retirement

by:

Joe Patti

I guess I should have waited a few more days before making last week’s post about today’s graying audiences not being the same graying audiences of two decades ago. Toward the end of last week I saw that Jimmy Buffet is launching Margaritaville branded and themed retirement communities.

Even if you view this as a cynical way to capitalize on the name, you have to admit that the Margaritaville name defines a lifestyle. There is a specific demographic who identify with this lifestyle and most of them weren’t retiring 20 years ago.

This reinforces the point I made last week that while the proportion of gray heads in the audience may seem to have remained constant for the last two decades, the current cohort that comprises your older audiences have distinct characteristics and interests.  Their parents wouldn’t want to live in a Margaritaville retirement village in significant numbers, nor would their grandchildren. (Their kids, maybe.)

Ultimately, the differences between the Margaritaville communities and those already being built by the company Buffett is partnering with may be superficial. It might be the same ground plans with different color schemes, furniture and soundtrack, but the company is telling retirees that they understand they have different expectations of their retirement experience than previous generations.

More to think about, eh?