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How Do Arts Administrator Practice To Get Better?

June 10, 2020

by:

Joe Patti

Sometimes a good headline is all it takes. When I saw a link to a New Yorker piece about “Bassoonfluencers,” I knew I had to at least take a look.

It turned out to be an article about a woman who posts her daily bassoon practice sessions on Instagram. She was inspired by violinist Hillary Hahn’s online posting of 100 days of her own practice regimen. The bassoonist, Morgan Davison, feels that being accountable to her followers to make a daily posting helps keep her motivated and evaluating the quality of her recordings has kept her on a path to improvement.

Readers may recall I made a post back in January about Hillary Hahn’s use of daydreaming as part of her practice routine.

I have long been interested in the process of practice and improvement so the article about Davison and other musicians using social media as part of their practice intrigues me.

On the other hand, it isn’t exactly a new idea for me. I have long felt writing this blog and having an accountability to my readers aids my effort to be a better arts administrator. The need to seek out new material to write about keeps me abreast of all sorts of developments in policy, theory, and practice. Additionally, it helps me perceive connections that wouldn’t seemingly intersect with arts and culture.

I would be interested to know if anyone else has a practice they feel improves their proficiency as an arts administrator. Performers have long used recordings as a way to reflect upon and improve themselves. Posting those sessions on social media is only the newest manifestation of that.

Except for reading, going to conferences and networking, I am not sure if arts administration has had a similar tool to use. These things don’t provide for easy reflective assessment. Keeping a journal might be the best method. It might be that there hasn’t been a perceived need for self-improvement in arts administration, but the challenges and speed of change over the last 20 years or so have revealed a need for it.

Art(ist) Education, Leadership, Management Philosophy, Working In The Arts

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Teamwork? We Got Tons

June 9, 2020

by:

Joe Patti

I read stories celebrating the fact that Covid-19 is finally making businesses recognize the benefits of telecommuting, confident that there will be this great revolution that will see people working from home in the future. To me it seems like it will be a terrible situation which will create greater class divides and income inequality.

I don’t think it takes a great deal of imagination to see how telecommuting will enable companies to more easily classify workers as independent contractors and not provide any health benefits. Because employees won’t be seeing and interacting with each other on a regular basis where they can compare notes about wages, work loads and other expectations, it will make it easier to underpay employees and prevent them from organizing to demand better pay.

Already employees are subsidizing the companies they work for by bearing the cost of electricity and internet connections. I know at least one person who is paying for her own mobile hotspot in order to do her job because the internet speed in her location is not fast enough.

Yes, it may provide greater work opportunities to people living in rural areas and may even improve the economies of some rural places as people move there, but again those places will need to have good technology infrastructure in place to support those workers. And not everyone will have the resources to move to places with a lower cost of living, nor will the potential pay for the work they are qualified to do justify the move.

Which is not to say the current work environment is any more beneficial. I just feel that except for people with higher status jobs, a move to telecommuting is potentially a worse situation unless accompanied by some strong worker protections, especially in regard to health insurance.

But the intent of this blog post isn’t really to get into a debate about socio-political-economic policy as much as it is to provide a context for potentially the biggest drawback of telecommuting — a degradation of creative interaction and teamwork.

Steve Jobs famously designed Pixar’s offices so all the restrooms and mailboxes were in a central location so that people working in disparate departments and projects would engage in casual “what are you working on?” conversations they wouldn’t otherwise have. His hope was that this would drive innovation and result in creative leaps.

Today on the CNN site there was an article titled “Minneapolis theater community uses stagecraft skills to support businesses of color in the aftermath of protests” One of the people interviewed made what is probably a very familiar comment to many of you:

“For anyone who has arts training, they are taught early on how to collaborate with people. And that collaboration comes with the ability to quickly organize and problem-solve,” said University Rebuild organizer Daisuke Kawachi, who pointed out the valuable stagecraft skills volunteers are now applying to their community.

And as with Pixar, physical proximity makes others more aware of resources than they might have normally been:

Kawachi estimated University Rebuild has supported more than 200 businesses. He said the number could be higher, because some requests have come on the spot while volunteers are in the field.
“We’ll go to a business and then their neighbor will say ‘come over.'”

Because we are steeped in the culture, a lot of us take a collaborative team environment for granted. As much as businesses have been saying that creativity is one of the top things they look for in employees, if telecommuting becomes widespread, collaboration and teamwork may become a greater competitive advantage as well.

Art(ist) Education, creativity, Management Philosophy, State of the Arts, Working In The Arts

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Do We Need Hysterical Strength To Bring About Required Change?

June 8, 2020

by:

Joe Patti

It appears Indiana University’s Center for Cultural Affairs was having some sort of virtual convening around the topic of New. Not Normal: Artists, the Creative Sector, and Innovation after the Pandemic. I only became aware of it because I was starting to see the videos recorded by some of the featured speakers appear in my Twitter feed today.

I watched the videos by economist Tyler Cowen and self-described philanthropy wonk Lucy Bernholz, both of whom had some thoughts about what the post-Covid future held for the arts. However, the person who envisioned the greatest necessity for transformational change was artist/activity Marc Bamuthi Joseph.

His suggestion was that instead of paying artists to create new works, they should be contracted to lead organizational leadership and stakeholders through a process of envisioning the role the organization should play in the community. In his words, rethinking theater as a site for creative wellness. This is based on the assumption that performing arts organizations can no longer exist with the goal of filling every seat. Even absent restrictions by governments, people will be reticent to return.

As an aside, something that has occurred to me that one has mentioned. If there is any group that turns out to attend performances in sufficient numbers to make an event financially viable, assuming they don’t become severely ill, their influence on what happens in arts and cultural may be cemented for decades to come. Depending on who constitutes that group of attendees, it could either be productive or detrimental in the long term.

Joseph says the smart performing arts entities will be those that embrace

“…social practice artistry, public health, fiscal health, brand expansion, digital production, embodied creative commons…how could currently empty theatres and music halls be utilized in service of social health, used as food service platforms, or testing sites or polling places or spill over waiting rooms for hospitals.”

Near the end of his video, citing the superhuman feats people are capable of when faced with a situation of alarming urgency, he suggests that the pandemic provides both the motivation and “hysterical strength” to rescue the collective arts and culture community from the threat being faced. Though he likens the strength of courage to that of survival so he may not be suggesting we are experiencing a type of disaster that gives rise to instinctive terror.

Advocacy, Arts Facilities, Business Models

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Many Stages Of Covid Coping

June 3, 2020

by:

Joe Patti

I don’t know about everyone else, but not having a slate of performances on my schedule has kept me just as occupied as actually having events. While I am definitely grateful to still have a job, albeit warily eyeing its status, I have never not had enough to keep me occupied on an Monday-Friday, 8 am-5 pm+ basis.

It almost seems like we are going through the many stages of coronavirus coping analogous to the stages of grief. I am not sure how many stages we will go through for coronavirus, but this how I have partitioned my experience thus far:

First came the frenetic activity of crisis management, review of force majeure clauses, cancellations, communications and processing of refunds.

Then came the scrutinizing of governor’s orders and generation of seat maps, processes and shopping lists of sanitizing product in order to comply with what we anticipate the rules will be once we are permitted to re-open, whenever that may be.

Now things seem to be in the phase when organizations facing the prospect of cancelling their signature events try to formulate alternative plans. Their primary intent is to have something in place so that when they say they are cancelling their big event, they can simultaneously announce what smaller endeavors they will engaged in instead. The underlying goal being to create a situation where they retain relevance in the minds of community members in the absence of their big event.

I stayed late at work today to participate in my third Zoom meeting of the day to brainstorm contingency plans with a community organization. When I asked one of my staff if she would be on the meeting, she said she couldn’t because she was participating in the same conversation with another organization.

At the same time, it surprises me that some organizations are adamantly sticking to their traditional practices and ticketing policies–or at the very least, are doing a poor job communicating with their audiences. This week we had a spate of angry phone calls mistaking us for an organization in another part of the country that has a similar name. My guess is either something happened recently or some information was released that made 3-4 people so angry they didn’t realize the phone number they googled was at a place 800 miles away.

Though my understanding is that some ticketing services’ policies have exacerbated the refunding process so the blame may not lay entirely with venues.

In any case, I think it is clear to most everyone that you can’t take it for granted that you will retain the goodwill and reputation you may have built up. Those with poor reputations may find that a shift in personal priorities means there is no longer a begrudging tolerance of poor practices accorded them due to their stature and influence.

Audience Relations, Marketing/PR, State of the Arts

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