Better Policing Through Improv

by:

Joe Patti

Last month the NY Times had a story about a theater company in Brooklyn which had been running a 10 week improv program for the police department since 2014. The goal has been help officers engage in more constructive interactions. Due to staffing shortages, the police commissioner said they wouldn’t officers to participate this year.

Despite this disappointing news, I saw this program as an example of how arts organizations can provide valuable training opportunities to their communities.

For 10 years, Mr. Greiss directed “To Protect, Serve and Understand,” an acting troupe born out of the killing of Eric Garner in 2014. It paired seven officers with seven civilians, and the group went through acting exercises meant to help both sides see each other’s humanity and to create, as Mr. Greiss called it, “a theater of empathy.”

[…]

Officers go through exercises with strangers — such as singing and role playing — that force them to examine their feelings about their work and interactions on the street that can lead to resentment, distrust and fear. Officers said they often used the improv exercises to talk about stress and the frustrations of working in a paramilitary environment. One officer said he learned how to stay calm in the face of screaming protesters. Another was finally able to open up about a shooting.

A few people interviewed for the article suggest that paying officers to take performance classes at a time when detectives are having to put on uniforms to patrol the streets is not a good use of funds. However others pointed out that the program has helped gradually change the perception of the police and garner a higher degree of trust. One officer who went through the program is quoted saying “Anybody who calls it just theater — no. This is real life. It’s a healing circle. It’s more than theater.”

Continuing Need For “The Talk”

by:

Joe Patti

A couple weeks ago I caught a news story about the California legislature restoring funding to a program which was focused on helping arts organizations make payroll after a 2019 state law required them to treat performers as employees rather than independent contractors.

The payroll fund, which only launched this year, is meant to offset the cost of complying with AB5, the 2019 law that requires theaters to treat performing artists as employees rather than independent contractors. Since the law’s enactment, small performing arts groups have seen their payroll expenses balloon.

The Equitable Payroll Fund is only available to nonprofits with an adjusted gross revenue under $2 million; organizations submit for reimbursements on their payroll expenses.

This brought to mind concerns non-profits had back in 2016 when changes to the Fair Labor Standards Act overtime exemption criteria meant that more employees would have to be paid overtime. I wrote a post back then about the unscrupulous plans some arts organizations were discussing to get around the requirement. I also noted, some of the approaches groups were using were already illegal under the criteria that existed at the time.

When I made the post I suggested it was time to have a frank conversation with boards and funders about the true cost of running an arts organization rather than trying to generate some dodgy new approaches. Fortunately, as a result of pandemic restrictions and changes in working conditions, a large number of arts organization have adjusted their operational models and were forced to engage in these discussions.

That said, the ongoing funding cuts arts and cultural organizations are facing probably means this topic is going to need to be the focus of continuous conversations for many years.

Giant Pencils As Creative Placemaking

by:

Joe Patti

Early last month I saw a story about a giant pencil being sharpened in a Minneapolis suburb. Apparently a few years back the owners of a storm damaged oak tree on their front lawn had the idea to have it sculpted into a giant No. 2 pencil. About four years ago the started to hold an annual party and ceremony where they sharpen the pencil with a giant eraser.

While I had taken note of it and had been amused, I didn’t really delve much deeper until earlier today when I mentioned the pencil to a co-worker who was also from the Minneapolis area.

We ended up watching a video made by one of the attendees and realized I clearly did not appreciate how big a deal the sharpening is.

Over the course of the video the crowd grows to the point where there were apparently 2000 people occupying the street and lawn of this residential neighborhood. There were bunches of people in pencil costumes and pencil caps. There was a marching band. A musical invocation by an alpine horn playing duo. Some of the pencils danced and did a trust fall off the porch of the house. The pencil was “interviewed” over a tin can phone strung between the porch and scaffold erected around it. People jockeyed to get pieces of the pencil shavings dropped to the lawn.

It was a great example of organic grassroots placemaking (none of that fake turf grassroots placemaking!). Around the 4:05 mark, the MC observed that Minneapolis punches above its weight in terms of arts and music.

Philly Pops Regain Their Name And Return With A Dragon

by:

Joe Patti

There was a brief mention that came across my social media feed about the Philly Pops reclaiming their name after performing as No Name Pops for a number of years.

Curious to learn what that was about, I did some research and sure enough, if you search for the Philly Pops, NoNamePops.org is the first result. (Though the URL doesn’t currently work. They may be transitioning to a Philly Pops URL.)

I wanted to learn more and discovered the Philly Pops had shutdown back in 2023 after issues of mounting debt were exacerbated by their controller embezzling $280,000.

The former musicians continued to perform as the No Name Pops until this weekend when they will return to play a 4th of July concert as the Philly Pops.

This is a bit of a publicity move as they received possession of the name back in October. The family of former Pops conductor Peter Nero owned the name and gifted it to the No Name Pops. The organization has spent the time since then planning a rebrand, re-organizing, and hiring new musical director,  Chris Dragon.

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