Low Internet Recognition for NPAC

by:

Joe Patti

Hat tip to Artful Manager Andrew Taylor for noting Doug Fox’s piece on how poorly Internet media outlets and blogs were involved in the National Performing Arts Convention.

Generally, I don’t replicate links to which prominent bloggers like Taylor have drawn attention, but I was just astounded by how few references and links a highly promoted conference like NPAC got. I don’t know about other people but I was getting emails from different sources at least twice a week for the 6-8 weeks leading up to the conference urging me to go. I had already planned to go to China so the conference was out for me. While there looked to be some interesting sessions planned, nothing struck me to blog about it so I made no references to the event.

Fox makes some suggestions for the next time around but it occurs to me that some of his points about opening access and encouraging promotion can apply on a smaller scale to our own arts organizations and communities. (Assuming people want to write about your company.)

Lots of Summer Fun In The Backyard

by:

Joe Patti

If you were a canny arts administrator (or are a leader of a particularly nimble arts organization) you may have foreseen that high gas prices would be forcing people to engage in staycastioning this summer. If you don’t know what a staycastion is…well good for you. As far as I am concerned it is a sign that most mainstream media outlets don’t have any original ideas or the fortitude to resist parroting others. A staycation is a vacation you spend at home. When I was a kid that is what we called a regular vacation. To listen to the MSM, you would think it was a new cultural movement.

Fortunately, we have the Daily Show to make fun of their silliness.

My grumbling rants aside, the fact people are staying at home provides a good opportunity for arts organizations and communities in general to make citizens aware of the enjoyable resources available in the area. What better time to convince people how convenient seeing a show is during busier times of the year than when they have taken the time to slow down and look around?

So if you had the foresight to realize this window of opportunity was opening maybe you have created incentives to get people in the door or launched a campaign to make people aware of your services. If you haven’t, maybe you are as nimble enough to take advantage of this trend. Sure gas might be just as expensive next summer so you think you can wait. But people might be inured to the cost after a year and be looking to get away.

Or you could be like me and are working in an empty building as everyone takes the vacations and comp time they have earned toiling throughout the last 10 months and would be in danger of having heavy objects fall on your head if you suggested adding new programs over the summer.

Personally, I think that if you are going to have some sort of summer program, it shouldn’t be done in a vacuum. Working cooperatively with the local arts council, chamber of commerce, municipal government, etc., to make people aware of the pleasurable encounters they can have right at home just seems like the most logical step. I think attending a picnic where there is a band/orchestra/puppet show/miscellaneous performance happening as the sun sets and the baseball game wraps up embeds itself deeper in the memory as a pleasurable experience than attending a slew of First Night performances. Ah, I am feeling a little laconic just thinking about it.

Next summer isn’t really too late. I pretty much said that in order to motivate those who can mobilize this year. Start working on next summer now. See if you can get local government involved. It is a great PR opportunity for your mayor to stand up as the winter starts to break next year and say, “Hey, we know you ended up hanging around town last summer. This coming summer we are going to make you happy you did and proud of your community by offering you X, Y, Z activities in cooperation with all these organizations and businesses in our community.”

Heck, there is an election coming up. If the people in office aren’t helpful, talk to the people running against them about your idea. They can get up and talk about how they empathize with those facing high gas prices and how they planning programs to enhance the value of living in the community.

Donors With Baggage

by:

Joe Patti

There was a short piece on the Chronicle of Higher Education’s website about fund raising (subscription required). What caught my eye was some of the insights it provided about how people money and the act of donating it. The story cites Laura Fredricks, a former fundraiser for Pace University and Temple University, who addressed attendees at Fund Raising Day in New York 2008 last week.

Much of what I read and heard at conferences about fund raising primarily deals with strategies for developing a relationship with a donor and convincing them to support your organization. In some respects, much of the advice has been similar to what is given in regard to dating. Some of the advice is a little aggressive and cutthroat and some advocates a more practical and sensitive approach. (Of course, there is also the “be content being single” camp but that philosophy doesn’t quite work in fundraising.)

In any case the advice generally focuses on a somewhat formulaic planned approach. Just as dating tips rarely acknowledge that other people have the baggage of past dating experiences which will impact the relationship you are trying to cultivate, I rarely hear/read a similar acknowledgment in connection with fund aising.

One of the anecdotes mentioned in the story was about a wealthy developer who never gave more than $1,000 at a time to Temple. When Fredricks asked why, she discovered that even though he could afford to give more, he harbored fears about running out of money that went back to his childhood.

She recognizes that the people who ask for money like presidents and trustees also have varying degrees of comfort with the subject. “They should be treated the same way donors are—as individuals with different emotions about money—and given simple requests, she said. Instead of giving a reticent board member a list of prospective donors, Fredricks suggested starting out with the names and biographical information of two current donors and then asking the trustee to call them to say thank you.”

Back when I was fresh out of grad school I remember having a conversation with someone about fund raising. I don’t quite remember who it was but the comment was made that you couldn’t ask someone to make a large contribution of money until you had made a large contribution yourself. The idea was that if you had done so you could empathize with what motivated someone to donate that much to something they believed in and could also understand how making such a donation impacted their standard of living.

At the time a $50 would have had dire consequences on my standard of living so I really wasn’t ready to do serious fund raising at that point in my career. Some of the other advice given at the Fund raising Day in New York meeting actually revolved around this idea. One person suggested requesting large donors make the ask for similarly large gifts.

One last tip that caught my eye which might be rather difficult for some arts organizations to embrace given perennially precarious financial straits. “Don’t show your desperation, no matter how far you are from hitting your goal. You’re not raising money to keep your organization from going out of business.” Yeah, right! That little bit of advice came from Michael Margitich, senior deputy director for external affairs at the Museum of Modern Art in New York. The approach he said he used while at Columbia University was “he was raising additional funds to ‘maintain our level of excellence.'”

The Planes Are Alive With The Sound of Music!

by:

Joe Patti

I don’t want my blog to get into a running travelogue about my trip to China so this will probably be the last entry where that subject is the main focus. I just wanted to comment on what is usually the most onerous part of my travels but turned out to be rather delightful this time around–air travel. I have to say that Japan Airlines has ruined me for all U.S. domestic flights. The food, service and entertainment even in economy class was great. I am not going to wax philosophical wondering why U.S. carriers can’t replicate it. I will just assume they have costs that Japan Airlines doesn’t and leave it at that.

The thing I will pose the “why don’t we have that” question about is the entertainment. I watched a great Kabuki piece while on the plane, the Noda version of Togitatsu no Utare performed in 2005. I had no idea kabuki could be that funny and irreverent. I was getting some glances from my neighbors because I was laughing so loudly. There was a lot of self-referential stuff, what looked to be the kabuki version of the West Side Story opening number and a Rube Goldberg contraption. To be sure, according to this article, kabuki may not have been quite so funny until recently. (Though it also sounds like it originally might have been.)

Purists probably considered the show I saw to be a dumbing down of the art form. Maybe it is. But it was a fun introduction to kabuki for an international visitor like myself who is only generally familiar with the art form. This type of pride in a national art form is what I wish there was more of on airplanes. Some might argue that given Hollywood is the center of the film world, all the films shown are, in fact, a statement of national pride.

As an arts person I am not, of course, going to be satisfied with that line of reasoning. While I am not the biggest fan of musicals, they would probably end up being the most natural choice in terms of how accessible they would be to domestic and international audiences. Given all the performers and writers contracts that have/are entering negotiation, it would be the perfect time to broach the subject of renumeration for the airborne broadcasts. If a rule bound, insular art form like Kabuki can begin to exhibit sweeping changes in their performance style, arranging to have Spring Awakening shown on a plane should be easy in comparison.

Heck, given that most people in the United States haven’t been to the theatre it would be as much an entrée to the form for the domestic audience as the Kabuki was to me as a visitor to Japan.