Category Archives: performing arts

Published! Digitizing the Performing Arts: An Assessment of Opportunities, Issues and Challenges

The thrill of release! Yes, we published today our latest national report – already billed as landmark ūüėČ – titled ¬†Digitizing the Performing Arts: An Assessment of Opportunities, Issues and Challenges. It is also available in French:¬† La num√©risation des arts du spectacle : √Čvaluation des possibilit√©s, des enjeux et des d√©fis.

I hope that this assessment provides a springboard for new conversations and digital capacity in the presenting field.

The question at the core of this work is who will be the digital intermediaries for the performing arts; and whether the presenting field can carve out a digital space that supports and benefits the entire performing arts eco-system. Doing so, I think, would require both a transfer and an expansion of the arts presenting expertise we see on the theatre platform to new digital platforms.

Presenters historically have been the dominant platform where performing arts and audiences connect. The theatre, stage or the festival site literally act as a platform. With that, this report seeks to begin to answer – or at least inform – big questions:

  • Can live arts presenters re-invent distribution of performing arts at digital scale?
  • How will Canadian artistic talent be nurtured and supported to grow viable careers and earn fair compensation in the digital realm?
  • How can we, and should we, as a free, vibrant society assure a broad diversity of voices that reflect all of Canada is heard in digital spaces as well as live performance spaces?
  • What is the future of live Canadian theatre, dance, music and other performing arts as digital technologies and capacities of data networks continue to advance?

This report by CAPACOA and Strategic Moves is the culmination of several years of conversations that emanated from our study on The Value of Presenting: A Study of Performing Arts Presentation in Canada. We are grateful for an initial round of financial support from Canadian Heritage to undertake this assessment.

On a personal note, I so appreciate and enjoy working with my colleague-client, Frédéric Julien, Director of Research and Development at CAPACOA. He is a tireless advocate in the arts; and equal parts smart, rigorous in his thinking and affable. Thank you, Frédéric, for your work and your collaboration!

Digital Innovation in Performing Arts Presentation

On Monday March 13, CAPACOA and Strategic Moves will facilitate an interactive web conversation on Digital Innovation in Performing Arts Presentation. Everyone is welcome to participate (10 am Pacific/1 pm Eastern).

My colleague, Frederic Julien at CAPACOA just  published a post with very high level summaries of recent events and reports from the perspective of the performing arts: http://capacoa.ca/en/news/field/1517-digital-conversation-intensifies.
You can also watch this video to get a good idea about some of the context that drives this conversation in the performing arts today. https://vimeo.com/channels/capacoa/119598467
Or simply flip through the Powerpoint version here: http://www.strategicmoves.ca/wp-content/uploads/2014/10/Breaking-the-Fifth-Wall_Final.pptx

New study on the arts in rural communities examines three regions in Canada

‚ÄúThe specific characteristics of the performing arts eco-system matter to whether they can fuel vibrant rural communities.‚ÄĚ With this hypothesis in mind, I have been¬†investigating whether there are common criteria or success indicators for building a sustainable, rural arts community. This exploratory research draws on existing literature about arts in rural communities as well as¬†my¬†work with organizations in rural communities from coast to coast to coast. In this initial phase of the study I¬†focus on three communities:¬†Haliburton County, Ontario; Temiskaming Shores, Ontario; and Wells, BC.

I will present findings from this new study for the first time at the SPARC Symposium taking place in Haliburton from October 27 to 30, 2016.

My work with SPARC goes back to¬†2014: I¬†presented a keynote at the first SPARC Symposium in April 2014 on¬†‚ÄúCo-creating a Culture of Place in Rural Communities.‚ÄĚ Then SPARC invited me¬†to co-facilitate the SPARC Network Summit in November 2014. In my¬†ongoing consulting practice I also¬†work with small, rural and remote communities to help strengthen local capacities and capabilities.

A key goal of the SPARC 2016 Symposium (a project of the SPARC Network) is to create an environment where people can network: exchange ideas, find opportunities for collaboration, discuss solutions to tricky problems and identify big ideas. Attendees will have an opportunity to meet people engaged in the performing arts from rural communities throughout the province and across the country.

Whether your goals are professional development, learning strategies to attract new audiences, innovative approaches to sustainability, opportunities for information exchange, or developing creative methods for marketing campaigns or mentoring programs, it is SPARC’s belief that this year’s program will facilitate them: http://www.sparcperformingarts.com/sparc-symposium-2016/

See you in Haliburton next month!

Inspiration reverberates

Check out Emma Jarrett’s latest blog post on Sustainable Connection inspired by the Northern Exposure conference last month in Wells, BC.

I enjoyed working with her and we had some great conversations about authentic presenting. Her performance coaching practice applies to anyone who gets to work with a microphone, not only musicians.

Taking steps to understand digital potential in the performing arts

CaptureAt the CAPACOA conference in Halifax this past January, attendee feedback suggested that I made a compelling case for Breaking the Fifth Wall: Digitizing the Performing Arts. Indeed, attendees were buzzing with the challenges and opportunities presented. Others who have watched the presentation online have asked me how they can get involved. You can watch my talk here on video. In it, I weave together a case for sector-leadership and sector-ownership in developing a future digital platform. I am most excited about digitization beyond the 2-D screens we have today. In particular, I believe a future-oriented perspective requires us to contemplate live-streaming/streaming 3-D renderings; holographic and or virtual reality convergence in technologies. Things most of us have never seen but enabling technology solutions are advancing rapidly.digitalPost

In this talk I offered a brief context of digital transformation in the last 20 years, an overview of experiments in digital performing arts presentation from around the world, a perspective on what it take to transform the challenging economic model that persists in live performing arts for the presenting field in particular, and a call to action.

At the upcoming CAPACOA national conference in Ottawa from November 25 to 28 I hope to turn that buzz into tangible action: Together with CAPACOA, we invite you talk about the next steps we as a sector want to take to drive this discussion forward and explore opportunities of digital distribution at scale in Canada and beyond. Can we establish a working group to spearhead conversations and build sector leadership on this central issue? Who wants to be and needs to get involved?

I am looking forward to facilitating this conversation on November 26  at 8 am.

Building community together: Northern Exposure arts conference

The Wells Hotel

The Wells Hotel

I spent Thanksgiving in the Cariboo town of Wells, BC (population 259) at the Northern Exposure conference.

Here are my reflections on what we did, how we did it and what it enabled; in so doing I hope to draw the curtain back a little on effective design thinking-inspired meetings that help people move to the next level Рwhatever that is for them.

Putting the team together

Island Mountain Arts‘ ambitious conference attracted about 75 festival organizers, arts organization staff and volunteers and¬†musicians from BC’s northern and southern interior, the Sunshine Coast, Vancouver Island, Haida Gwaii, and the Yukon.

Island Mountain Arts (IMA Рnamed after a local mountain, called Island) has been operating its renowned Summer School of Art since 1977 and over the years has expanded with a Public Art Gallery and Gift Shop, an International Harp School, the Toni Onley Artists’ Project and the award winning ArtsWells Festival of All Things Art.

Julie Fowler, Executive Director of IMA, invited me to facilitate this conference, based on my previous work with SPARC – Supporting Performing Arts in Rural Communities and the Yukon Arts Presenters Summit. And she recruited co-presenters and panelists from across B.C. to ensure a wide range of perspectives.

A common purpose: creating community

Speaking with Julie, we quickly established a common purpose: to build up a better networked rural festival and arts community.

My approach as facilitator and presenter was focused on creating spaces for participants to get to know each other, share knowledge and know-how, and encourage collaborative learning¬†and action planning. Julie and her wonderful team took care of conference logistics, meals and showcases ¬†–¬†16 in total – at the local¬†Sunset Theatre¬†and the Wells Hotel. She arranged two sessions tailored for musicians.

The conference also had its share of great food by chef Sharon and the kitchen crew and a fine assortment of beverages at showcase and reception venues. Being in a small place, the conference moved as a whole from breakfast at the Wells Hotel to the Wells Community Hall for conference sessions, back up the street for lunch and showcases and then back for more learning. We shared dinner and conversations and then went off to the Sunset Theatre for showcases. A late evening snack invariably appeared at the Pub to maintain the stamina of musicians and participants alike.

I feel that having participants move together in this way, sharing meals and conversations in ever changing configurations, made for closer connections and more meaningful, relevant learning.

Pre-conference professional development

Participants discuss marketing

Participants during the audience development session.

The pre-conference professional development day on audience development was attended by most of the conference participants. I delivered a well-honed workshop; modified as usual to suit the rural context. This session was highly interactive, with lots of conversation by all participants and practical learning. This was followed by a full slate of 15-minute 1-on-1 sessions with me. The nine participants brought a wide range of marketing and organizational questions to these intensive conversations.

At the same time, Emma Jarrett, a performance coach, conducted a fantastic hands-on workshop for musicians and anyone else interested in honing their presentation skills.

Creating an open learning environment

I borrowed a¬†networking exercise from the Yukon Arts Presenters Summit (Let’s Get Connected) which in turn the Yukon organizers had modified from SPARC. The four topics were:
‚Äʬ†¬† ¬†who you are and what you do
‚Äʬ†¬† ¬†your hopes and dreams
‚Äʬ†¬† ¬†what you‚Äôre seeking
‚Äʬ†¬† ¬†what you have to offer

Networking

During the Let’s Get Connected process, participants had four 10-minute¬†segments for reflection and conversation at tables of 6 each. A quick way to meet 20+ participants in an hour.

All participants had their picture taken at¬†registration. They¬†recorded the¬†information on their print outs and then discussed it with their group. Every 10 minutes a room full of participants stood up and found a new table of six to move to the next topic. It’s an amazing free-flowing choreography.

With the sheets we created a Living Wall that served as a reminder of the breadth and depth of knowledge and experience each and every participant brought to this conference.

It was a powerful beginning that I feel set the tone for a true working conference: Participants heard their own voices from the start; felt valued as experienced organizers; and they became collaborators in co-creating our conference.

After a short coffee jaunt up to the hotel, I gave a well-received keynote on Co-creating a Culture of Place, in which I made the case, as I have at other conferences, for Vibrant communities fueled by the arts and its community-engaged partnerships. Much of the data in that keynote comes from The Value of Presenting study. This study continues to deepen the conversations about arts presenters and their role and impact in their communities.

After lunch, I had the pleasure of working with Janet Rogers¬†–¬†a¬†Mohawk/Tuscarora writer and broadcaster from the Six Nations in southern Ontario, who was born in Vancouver and has been living on the traditional lands of the Coast Salish people (Victoria, BC) since 1994 –¬†¬†to share information and lead a conversation on Cultural Tourism. ¬†I provided context and laid out a cultural tourism landscape. Janet led a conversation on¬†how to access indigenous artists for¬†festivals and events, and encouraged making the necessary contacts early in the event planning process. She proposed that in so doing we could¬†move¬†from¬†the¬†acknowledgement of traditional lands into meaningful inclusion and full participation by indigenous and non-indigenous artists. After all,¬†Aboriginal tourism is seen as a key aspect¬†of expanding Canada’s and BC’s cultural tourism potential.

I felt this was an important and open conversation about an area¬†many of us want to get right but also feel some insecurity about. These protocols are new to most event organizers. What excites me is that meaningful change can happen through our individual decisions and actions, by getting to know each other and speaking openly and respectfully to each other. We don’t have to wait until everything is figured out in the big picture.

Living Wall

A small selection of our Living Wall.

Concurrently, Music BC presented a session for musicians on all of the sources of revenue available to them for their work.

I moved the programmed afternoon networking round tables outside to a walking conversation Рthankfully the rain held off and the winds had died down.

Sharing stories and action planning

On the last day of the conference we were in Barkerville.

The morning featured five inspiring stories presented by¬†Julie Fowler, ArtsWells Festival/Island Mountain Arts; Carla Stephenson, Tiny Lights Festival; Karen Jeffery, Sunset Theatre; Deb Beaton Smith, Rifflandia; and Miriam Schilling, XatŇõŇęll Heritage Village, Soda Creek.

The panelists Рparticipants conversation drew the curtain back a little on how to build success, how to sustain arts in small communities and the kind of perseverance, experimentation and serendipity it takes. Everyone was eager to share their experiences and it felt like the perfect transition to move toward action planning.

But first I led a practical workshop on integrated¬†online marketing with Fraser Hayes‘ able assistance. Fraser is the station manager of CFUR Radio in Prince George; a community radio station that has built a substantial integrated online footprint to complement its broadcasts. More¬†insights and specific action items¬†tumbled forth¬†and then we were ready for lunch, a walk about this amazing restored¬†gold rush town and the final two showcases.

The conference concluded with action planning.  First I asked everyone to write down key take-aways from the conference, their next action steps and desired short and long-term results. The process requires participants to write the information out twice: one copy to take home and the second copy to be shared with participants. In this way we hope to facilitate network building. (I borrowed this format in condensed form from the Yukon Arts Presenters Summit which was facilitated by Jerry Yoshitomi.) Writing this down twice gives more time to reflect and form greater commitment to taking actions. This exercise moved seamlessly into a robust conversation around participant-identified topics. We collapsed about 10 (!) suggested topics into three broad areas: programming, operations and youth. Participants quickly gravitated toward their topic and a number of specific ideas for collaborations and resource sharing were brought forward.

Finally, in closing, we ended as we began: with participants having the last word through sharing highlights from their own action plans.

It seemed everyone felt confident that this conference was not merely the culmination of a long-standing dream, but that it would be the catalyst to move forward with closer ties between participants and their organizations from all over rural BC.

While the conference concluded officially, conversations continued into the night as some participants stayed for Thanksgiving dinner and more pub time.

More than a week after leaving Wells, these days continue to reverberate in me. I am grateful for the new connections, the new friends I made and for being part of this special community of festival and arts organizers.

Is it Sustainable? Volunteers in arts and culture

An off-the-cuff remark during the recent SPARC Network Summit, was captured by Chad Ingram of the Minden Times:

‚ÄúThe idea that we‚Äôre all volunteer-run [in rural communities] . . . is that sustainable?‚ÄĚ [Inga] Petri asked, pointing out that the arts is one of very few industries where people are expected to donate much of their time. ‚ÄúWe would never imagine mining to work that way. We would never imagine forestry to work that way.‚ÄĚ [Or fisheries for that matter: all industries that are also often located in rural or remote locations in the country.]

So why do we not need to have volunteers running mining companies, like they run community-based arts presenting organizations in many regions of Canada? Why do forestry companies not call for volunteers to support their operations or sales teams, as many arts organizations do? Why such a dearth of volunteers in integral oversight roles in fisheries or construction industries?

Don’t worry. I get it. The performing arts¬†is a sector where labour productivity can’t so easily be increased (that Beethoven¬†symphony requires the same number of musicians today as it did when it premiered), unlike what has been achieved in those other industries through automation and machinery with ever greater capacity requiring ever fewer people. Yet, at the same time¬†labour costs¬†in the arts have to keep pace with inflation and cost of living for artists and administrators (well, that isn’t always the case, but still costs have risen while productivity has not). One response to what has been called Baumol’s Cost Disease¬†means that it¬†is hard to imagine the arts and culture sector existing to the degree it does¬†in Canada without massive volunteer involvement.

Volunteerism – doing useful things in an organized way without pay to make others’ and our own lives better – is a great attribute of being part of a vibrant community. ¬†Yet, especially in smaller communities¬†in Canada, worries about attracting, training and retaining ¬†volunteers are common. People burn out from the demands of volunteering in the arts, ¬†volunteering at the local hospital and any number of charitable and not-for-profit organizations.

We collected pertinent information underscoring the importance of volunteering – and inferred the great importance it signifies in terms of the arts for Canadians – in the Value of Presenting study (links to PDF):

“(…) Canadians who volunteer in the arts and culture sector gave on average more time (127 hours per year) than those in any other sector in 2010. This represents an increase of 21% since 2007, the largest increase of any sector examined at a time when 6 out of 12 sectors registered a decline. (…)¬†When considered in terms of total hours, the amount of volunteer time equates to about 100 million hours. That is equivalent to more than 50,000 full-time jobs.

(…)¬†in the Survey of Performing Arts Presenters … [more than]¬†half of survey participants report more volunteers than staff. The average ratio of volunteers is 17 for each paid staff member.¬†(…)

The profound reliance on volunteers is even more evident among presenters of entire programming seasons in small communities under 5,000 people. They are less likely to have any staff and instead tend to be entirely volunteer run. These rural organizations rely on a day-to-day volunteer complement of an average of 36, with half reporting the use of 12 or fewer volunteers and half reporting more than 12. This increases to an average of 167 during the height of their operations.

I wonder whether this reliance on volunteers is sustainable. And whether it is sufficient to off-set the cost disease that has been diagnosed. And whether it is makes sense and is fair that so many functions (we can look at them as potential full-time jobs) are filled by unpaid labour?

To be clear, arts organizations have also undertaken other strategies to alleviate the inevitable pressures, including:

  • Higher ticket prices
  • Advocacy¬†for greater public support
  • Increase in private, corporate donations
  • Renegotiating union contracts¬†to reign in costs

While they do not address the underlying structure of the sector, each of these strategies has bought time for many organizations, even if not all in Canada, by generating needed income.

So, where do we go from here?

Well, one place I will go is to the CAPACOA conference in Halifax, where I will discuss Digitizing the Performing Arts and explore whether that could be “the holy grail” to shifting the performing arts presenting sector’s structure toward a new model that suffers less from this dynamic.