Ephemera Becomes Increasingly Ephemeral

by:

Joe Patti

Via Arts and Letters Daily is an article by Bailey Sincox about how theater tickets and programs, long regarded as ephemera are becoming increasingly ephemeral thanks to technology.

Tickets and programs had a life measured in terms of the dates of performance. Once the date had passed and the show run completed, tickets and programs had no value. Except in terms of a remembrance of time spent and a record of who contributed to the creation of the show. As Sincox writes, saving those tickets and programs as memorabilia has been practiced for 400-500 years.

But the move to digital delivery on tickets means there isn’t anything to save unless you specifically request to pick up tickets at will call or choose to print at home. Sincox notes that some ticketing services like TodayTix don’t deliver tickets to their app on your phone until 24 hours prior to the show time and then disappear at midnight of the show day.

As for programs, Covid saw an elimination in their use and the post-pandemic period has seen their diminished use as venues trend away from them. Even the vaunted Playbill program one gets at Broadway shows and other venues across the US was impacted as never before in its history:

Playbill’s presses ceased operations between March 2020 and August 2021 for the first time since the magazine’s 1884 founding. As Playbill’s editors reminded readers in the first postvaccine issue, the magazine had not stopped for two world wars, for Y2K, or for anything in between….After August 2021, many theaters made Playbill accessible via QR codes scanned in the lobby, much like the now-ubiquitous virtual restaurant menu

All this being said, Sincox observes near the end of the article that delivery of tickets and program content virtually still has its shortcomings. As a venue manager, I can attest that her struggles in retrieving her tickets on her phone is a common occurrence across the nation, if not the world. In the end, a good many attendees depend on the availability of the ticket office to print hard copies of their tickets so that they and their friends may share an enjoyable experience.

On The Myopic Focus On Product Over Customer

by:

Joe Patti

Seth Godin recently wrote about how, as an MBA student at Stanford, he went into an interview with the CEO of Activision waving a Harvard Business Review (HBR) article and claiming Activision was in danger of succumbing to the Marketing myopia described in the article. Godin says he was just about to be thrown out of the CEO’s office when someone came in waving a report that Activision had 9 of the top 10 video games on sale at the time.

By the time the CEO came back to his office, he forgot why he was angry with Godin and offered him the job. But Godin said the time he spent cooling his heels convinced him he was right about Activision being too focused on making games for the Atari console.

Godin tells this story as an introduction to a HBR piece he wrote about strategy myopia His main point is that strategy deals with uncomfortable uncertainty based on questions about what the future may hold based on how technology, society, and other factors are unfolding. The tactics and plans a company embrace need to derive from the strategy, which again, holds no concrete promises.

In part this myopia comes from what we expect from a new strategy. Strategy is not a plan. A plan might come with a guarantee: “If we do this, we win.” A strategy, on the other hand, comes with the motto: “This might not work.” Strategy is a philosophy of becoming, a chance to create the conditions to enable the change we seek to make in the world.

When the boss demands a strategy that comes with certainty and proof, we’re likely to settle for a collection of chores, tasks, and tactics, which is not the same as an elegant, resilient strategy. To do strategy right, we need to lean into possibility.

What really caught my attention was a passage that echoes the on going conversation about arts marketing being focused on the product being sold rather than the audience/consumer. (my emphasis)

Strategy myopia occurs when we fail to identify who we seek to serve, and focus on what we seek to produce instead. Empathy gives us a strategic advantage.

A tactical, short-term focus is based on the past. We can try to defend the machines and processes already in place, working to maximize the assets we’ve got. Or we can visualize the customer and serve their needs as the world changes.

[…]

Empathy begins with the humility to acknowledge that you don’t know what others know, want what they want, or believe what they believe … and that’s okay. If we’re not prepared to move to where our customers are hoping to go, it’s unlikely that they’ll care enough to adopt what we care about.

One Year Later Kitchener-Waterloo Symphony Emerges From Bankruptcy

by:

Joe Patti

A year ago I wrote about how the musicians of the Kitchener-Waterloo Symphony were blindsided by the organization declaring bankruptcy.  There had been no communication prior to the declaration indicating there were any financial concerns. Indeed, the symphony had negotiated a pay increase with the musicians a month earlier.

Last week there was news that the organization was emerging from bankruptcy.  From what I have read this seems to have been a result of creditors forgiving their debt rather than an immense fundraising campaign so the future of the organization remains to be seen. There will be a few concerts performed at a church to close out 2024.

A column in the Waterloo Regional Record cited the board chair, Bill Poole’s, belief that it may be some time before the organization returns to offering a full series of concerts with their former complement of musicians:

Poole acknowledges that the previous setup, in which 52 instrumental musicians were full-time employees, might not be deemed viable in the future. It isn’t clear yet what that working relationship will look like.

The musicians will have work, he said, and there will be concerts starting in early 2025 for which the symphony will pay them. But right now, the musicians don’t have steady jobs.

He can’t say if there will be a 2025-26 season that music lovers can subscribe to, nor if the concerts will happen at Centre in the Square, which was originally built for that orchestra.

Poole acknowledged there is a lot of trust to be earned back. I imagine that is the case with both the audience and the musicians. Though according to Poole, the musicians invested a lot of effort into helping to restore the orchestra to its current footing, precarious as it may be, including helping to recruit new board members.

The musicians raised nearly $500,000 Canadian through GoFundMe to produce their own series of concerts, support the unemployed musicians, and provide legal services.

NEA Starts Surveying About Loneliness & Social Support In Relation To Arts Participation

by:

Joe Patti

The National Endowment for the Arts recently released the arts related results of the Census Bureau’s Household Pulse Survey. Unlike the Survey on Public Participation in the Arts (SPPA) which asks people about their behavior across the previous 12 months, the Pulse Survey asks about people’s behavior in the previous 30 days. They say this provides greater detail of the rate at which people are engaging with arts related activities post-Covid. The Pulse survey was conducted between April – July 2024.

There is both a summary press release and a more detailed report available.

In addition to asking people how often they engaged in arts attendance and arts creation and their perception of the availability of arts and cultural amenities in their community, the Pulse Survey specifically asked new questions related to loneliness and social connection. The data shows the response of attendees, creators, non-attendees, and non-creators to questions about participation in social clubs/activities, phone conversations with family and friends, and spending time with family and friends.

I was somewhat perplexed that they did not address how age and other demographic factors may have impacted whether people spoke on the phone with family and friends as they did with other categories. They only broke down the results in terms of attendees vs non-attendees and creators vs. non-creators.

In terms of loneliness and social support, for the most part those that attended events experienced less loneliness than non-attendees and creators experienced it less than non-creators. Similarly, those who perceived themselves as having access to arts activities also felt loneliness less than those who perceived themselves as having low or no access.

However, there was a noted exception in the creator category:

Adults who created art were more likely to report experiencing loneliness “sometimes” or “rarely” (31.9 and 34.7 percent, respectively) than were those who had not created art (27.2 and 32.2 percent, respectively). However, at least some level of loneliness proved more familiar to creators of art than to non-creators. That is, 18.4 percent of those who created art in the last month reported “never” experiencing loneliness, versus 27.3 percent of those who did not create art.

There were somewhat similar results related to feeling social and emotional support. Those who attended or created art or those who felt they had high access to arts resources felt a greater level of support than those who didn’t attend, create or have access to resources.

Again there was a difference on the absolute end of the scale among creatives (my emphasis)

Adults who created art were more likely to say they usually received social support than those who did not create art (38.8 percent compared to 30.2 percent for non-creators “usually” receiving support). Arts creators were also less likely to say they never received support (4.1 percent versus 10.1 percent of non-creators). However, non-creators were more likely to say they “always” receive social and emotional support than were arts creators (28.8 percent of creators versus 24.6 percent of non-creators).

While I have some theories bumping around my head, I am not exactly sure what all the implications of that might be. On a very basically level of course, the creative act will always require a degree of loneliness associated with it. Even if you are in a large orchestra, there is a lot of time spent practicing alone. Even in a small music group the folks writing the words and lyrics may feel isolated from other members of the group. And the creative who hasn’t felt they don’t have social and emotional support for their endeavors are few indeed.