More Is It Good to Come

by:

Joe Patti

Andrew Taylor recently encouraged in a comment to an entry to take a look at Joli Jensen’s Is Art Good For Us?. He had blogged on the book about two years ago.

Well I got it from my local library today and will dive in and take a read rather than writing at length today.

Based on the second page of the book, it may turn out to be an interesting read. Jensen states flat out “In the end I want to convince you that Tocqueville and Dewey have it right and everybody else has it wrong.” We shall see if she does a good job arguing her case or is overly biased.

I Nearly Wet My Pants Trying Not to Laugh

by:

Joe Patti

I don’t buy or rent a lot of DVDs. I don’t go to the movies all that often, truth be told. It isn’t because I think live performance is superior or anything, it is essentially because growing up in rural New York, we didn’t get out to the movies much. I have never really been in the habit of attending too many movies.

I did read a lot and as such did attend the Lord of the Rings movies when they came out and did ask for the box DVD set for Christmas. Amazon had it on backorder for quite awhile so it just arrived today.

As I was covertly previewing the first five minutes at work today, you know, just to make sure there weren’t any problems with the disk, I got to thinking what a great tool the performers and production team commentary would be for teaching people the basics about the arts.

It would be an expensive undertaking to pull the video production resources together to produce a DVD. However, I think foundations that support audience building and arts education efforts would probably be happy to underwrite the creation of a tool that could be easily duplicated and distributed to serve large numbers of people.

In fact, foundations would probably be more interested in paying for generic educational videos that many organizations could use rather than ones that specifically prepared audiences for shows in an upcoming season.

I think it would be very helpful to people to have the ability to watch a play and then go back and listen to the actors comment on what they might have been feeling during the show (I nearly wet my pants trying not to laugh) or to the director and designers talking about their choices and how it contributes to the feel of the performance.

The same could go for dance and music. A dancer may comment on how their heart soars at a particular place in a ballet even after performing it 50 times or how a piece looks deceptively simple but actually involved hours of practice. Symphonies could break the commentary down by section and conductor, perhaps.

If the commentary was designed well, pointing out what people should look for, explaining the process and providing points of reference to which people can relate, (parallels between elation during performances and sports activities, for example), it could become a powerful educational and intimidation allaying tool.

At the speed with which video can be delivered over the internet, the videos wouldn’t necessarily have to be only available on DVDs at the organization or local library. Arts organizations could have the videos available for download or streaming on their website or on a hosting site specifically designed with the bandwidth to host video.

Heck, maybe the local cable company would be interested in having it in their free video on demand library. Given that they would probably advertise it as a service to their subscribers, the cable company might go as far as add a little bit at the end saying “if you feel like checking out live ballet in your area, here is a listing of companies in your region.”

As I write this, ideas are forming in my head about how it might turn this into a reality. As a presenter, I don’t have an opportunity to do something like this with the groups I bring in because they visit for such a short time. But I do know some local companies that I might inspire and some video production people who might work on it.

Watch this space in the coming months, I might have something to report.

Get A Job in DC

by:

Joe Patti

Have to give a shout out to DC Arts Jobs blog.

The purpose of the blog is “An informal collection of job postings at arts organizations in the Washington, DC area, focusing on development and special events, but encompassing other functions and other cities as well. Some light commentary is provided where the author thinks she has the scoop.”

The listing isn’t comprehensive, just what comes to the writer’s attention. The thing I like about the blog is that while it is similar to some theatre blogs that only list area performances (in this case, jobs), Christina also highlights issues that could impact one’s ability to find a job. (And the entry titles clearly differentiate the news and info listings from straight job listings)

Amidst recent job listings you can also find entries with commentary and links on the economics of dance, how to deal with getting fired, how to get a job in philanthropy, planning for succession when leadership retires and the labor relations problems the Washington Ballet is having.

There are also links in the sidebar to other arts issues blogs, arts job sites, arts policy sites, headhunting companies and arts organization sites broken out by discipline.

Just wanted to bring some attention to Christina’s work because it is an interesting approach to arts blogging that I hadn’t seen before. Hopefully it will inspire other people to create similar blogs for their geographic areas.

Faithful Enthusiasm

by:

Joe Patti

Back when the earth was cooling, the occasion of myfirst entry was having a letter I wrote to The Artful Manager appear on the Artsjournal website.

The letter essentially talked about tapping into community leaders, among them church leaders, to help increase attendance at performances. I am doing well with leaders in other communities giving me a hand in getting the word out, but the church situation has me a little puzzled in some ways.

We have a church rent the theatre every Sunday and see very little cross over to our performances. We have posters with upcoming events plastered all over the building so it is hardly a mystery about what is coming up. Yet we get very few comments made to us or on our surveys saying they heard about the show because they come every Sunday.

Our programming is far from being offensive and is quite appropriate for the family. We just aren’t seeing the results one might expect and I don’t quite know why.

What gets me to thinking about this is that for the next three nights, we have an entirely different church having a worship conference in our space. Most of it will be a lot of praise and worship gospel singing and preaching. Tomorrow they kick the whole thing off with a half hour performances from one of the biggest gospel singers around.

In preparation for this half hour performance, the church has come in and painted our dressing rooms (we have a lot of classes during the year so the facility gets quite a bit of wear and tear) and when I left work tonight, they were carrying in leather sofas for her use.

That’s a heck of a lot of enthusiasm they are investing into making things right for a real short show.

It is also the type of energy I wish I could tap in to.

Next year we are looking at some gospel singers and that will certainly connect with the church audience. However, we are looking at these musicians because they are great musicians first and not to attract the churches.

I book with an eye to taking advantage of the opportunity to bring in great musicians that I think people will enjoy. If there are interested Latino groups available on an annual basis, I will happily grab them because I know people will buy tickets. But I am not looking to fill a Latino slot on my roster every year. Nor am I interested in discarding great opportunities because they don’t fit into gospel slots.

Smart thing to do though might be to co-produce similar events in the future. Promote the event in my brochure, run ticket sales through my box office, let the enthusiatic church members handle hospitality, security and technical equipment since that is where their strengths lay and then split the box office proceeds.

A partnership that plays to our individual strengths might be beneficial to both of us. I don’t know that we will ever generate a crossover interest from the audience, but what we are doing now isn’t meeting with much success. A partnership of this type might also not make economic sense since we experience little financial risk in renting to the group. But we would also realize less of a loss than if we had engaged an artist on that date ourselves since we aren’t bearing all the costs.

The question will be, if we do co-produce with them, is it replacing a show we would have done alone or are we doing it in addition to the shows we would have done and therefore are losing on the potential gains of a rental opportunity?

I will let you know how things shake out next season!