The creative economy

The following post from ARTSblog brings to light the emerging discourse on the Creative Economy. In an insulated fashion, the terminology and concept seem to be gaining credence at a national level. However, as the author notes -- how to take it from concept to a tactical plan with a positive impact for the arts and artists will be a long and winding road. I appreciate the fact that all aspects of the creative economy seem to be included -- as the landscape of the creative economy has a local, national and international aspect that affects almost every industry from local government to international banking conglomerates. The complexity will, if not parsed to specific tactics and development plans, keep the discourse at a conceptual level. It is great that it is an easily demonstratable concept -- however, this economy is not easily manipulated via a change in bank rates or infusing money into the system. The problem is its strength -- the human quotient, the cost disease of the arts, and the local (versus global) engine that drives it. While this could be a strength -- the economic and political engines that currently exist will be unable to provide the synergy that the creative economy needs to truly transform the existing systems.

The Creative Economy Has Our Attention. Now It Needs a United Voice. (from Arts Watch)

How Do You Become a Cultural Phenomenon? (from Arts Watch)

She is simplifying conceptually, but it seems relevant. I need to do a blow by blow with the Tipping Point . . .

How Do You Become a Cultural Phenomenon? (from Arts Watch)

New Models of Business on Broadway (Maybe)

So, as crowd-sourcing has become the rage, an impulse for crowd-investing in a Broadway show is emerging:
http://online.wsj.com/article/SB10001424052748703743504575494002194344786.html?mod=WSJ_article_RecentColumns_NYCulture

The timing seems perfect -- everyone wants to have a say in the world of entertainment.  The question is do they have the money to match the will and is the idea sustainable.  It is NOT far afield from the attempts to produce Broadway shows with an IPO -- something no longer practiced as the risk was too high and the administration too costly.  The internet and emerging technologies might mitigate the latter, but the former is still daunting. 

Interestingly, the idea of funding from the people was created 2 years ago in a non-profit setting to enlist individual's donation and input on new play development.  It will be interesting to the impact and sustainability of each.

Groupon tickets work for Joffrey

Joffrey%20Ballet's%20win-win%20with%20Groupon%20is%20a%20lesson%20for%20Chicago's%20cultural%20institutions

While I have yet to figure out how organizations make this work financially, it is the wave of the short-term future. BUT, as the price has to be 50% of the regular price AND groupon takes 50% of that, you are essentially selling your wares for 25%. I understand that 25% of X is larger than zero -- but what if you ARE a theatre with an 80-90% sales ratio? Is it worth taking the loss to get newbies in your doors? Especially if your usual price is $22 . . . .

An interesting conundrum.

Email Marketing Resources

If you want to stay on top of the email marketing game, the following are useful resources from our marketing consultants here at ISI

marketingsherpa.com
verticalresponse.com
clickz.com
emailinsider (part of mediapost.com)
mailchimp.com
exacttarget.com
emaillabs at lyris.com
imediaconnection.com
email roundtable.(perhaps emailexperience.org or worldhum.com)

The State of the American Musical

http://www.post-gazette.com/pg/10235/1081725-325.stm?cmpid=entertainment.xml

The above takes you to an interview with Hal Prince, a 60  year veteran of producing and directing Broadway musicals.  He has several worthwhile observations, but to me the most poignant is the comment that producers are providing artistic patronage (versus the corporate attitude for monetary results).  Broadway has changed dramatically in the 20 years since I entered the business, and I do believe that the Hollywood corporate influx has done nothing of lasting value for the product. I am all for taking great ideas from all sectors (making musicals out of plays, for example), but you must do it right. The artistry is the only lasting legacy -- a star will sell a ticket in the short term, the artistry will make it last. Corporate short-term gains will obliterate the landscape -- as a pretty face has little transformational capacity. The 21st century, post-recession audience is no longer looking for a quick fix, but rather a long-lasting, communal, transformational, experience.

Digital Theatre

I am increasingly encouraged with the growing engagement of audiences for theatre distributed through digital means (in movie theatres or via players on the internet). However, these changes seem to be occurring mostly "across the pond" where, it seems, unions are working with theatres to help grow audiences wherever they might find them.  Britain's National Theatre and now the Edinborough Fringe are available digitally.  Here in the United States we assume that it is through the ease of public funding that our peers are able to attain what we can barely consider due to the incredibly high labor costs due to our unions. (The cost of a one day filming of a stage play with 6 actors is approximately $28,000 while paying those same actors for a week is only $3800).  Until we are able to bridge THAT financial gap, the jump to the screen will be few and far between, supported through corporations who want their names across the screen not due to the actual demand for an interesting piece of art by audiences.

  Technology and theatre are friends in England where there is a digital theatre app letting you know what's playing at your nearby stage. 

Opera Woes

With the recent revelation of the continued woes of the WNO, it is interesting to see how nothing has truly changed since nobles funded the arts in the Renaissance. Those who fund, have control.  That being said, as the WNO considers a merger with the KC, they should realize that their control of their day-to-day existence will immediately change.   There is always opportunity in change -- but there will also be lost, and from the recent Washington Post article, I sense that artistic loss is anticipated.

Post article

New and Emerging Business Models

New and Emerging Business Models

NFP Boards, Good Idea Run Amok? - State of the Art

NFP Boards, Good Idea Run Amok? - State of the Art

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Theatre as a foundation for community

Arts space has been theorized as a temple and a site of community -- by Richard Schechner and Augusto Boal perhaps most persuasively.

An upcoming production of Sarah Ruhl's PASSION PLAY in Brooklyn further underscores the potential intersections of theatre, community, and belief. Read here.

For those engaged in the act of theatre, the actors, designers, technicians, etc., it is a home, a passion, a devoted life not unlike a nun or a priest. Those engaged in the arts would seem to follow a similar level of commitment as there are no other incentives to justify the choices for the average artist (the income is well below average and the work environment less than most would find acceptable).

I frequently tell those going into the field the same thing that was said to me -- if you can do anything else, do it. Admittedly, I tried. I was miserable, so I returned to the fold.

For those entering the management of the arts, their paths frequently emerge from the making of art. The relationship of their professional and personal satisfaction changes, from one directly linked to the art to one responsible for the environment of the product (the organization or its own works). The transformative quality of the art -- the BELIEF in the art is at the center of why one comes to work each day.

Strangely and perhaps disturbingly, the arts, like religion, are increasingly segregated from the everyday experience of the public. The public (and those studying to work in the arts) blurs the understanding of 'art' with 'entertainment' as art has become increasingly commodified in order to exist in America's capitalist society AND audiences align the use of non-work time with either family or entertainment options (be they shopping, watching movies, going out to dinner, or seeing a play).

Back to the importance of the Sarah Ruhl work in Brooklyn. The play offers an opportunity for its audience to evaluate and discuss their relationship to belief and religion. What offers audiences the opportunity to evaluate and discuss their relationship to the arts?

The Arts GDP

Americans for the Arts will unveil the measurable statistics for the arts sector (the arts GDP, so to speak) on January 20th. I am glad that they have taken leadership on this realm. It is much needed and long coming. It is difficult to argue broadly or deeply about the impact of the arts with only a hodgepodge of data from sometimes narrow sources or data sets.

Simultaneously, AFTA will be celebrating its 50th year. In their most recent newsletter, they noted emerging trends in the arts (some of which have been obvious to those of us on the ground for years).

a) the arts market is out of balance, with capacity (artists, art, performance venues) or 'supply' exceeding demand (capital funds are so much easier to get than operating funds . .)

b) Our audience's engagement has changed overtime, with an acceleration in the recent internet years. The recent NEA study underscores this observation -- audiences are attending live performances less often, but consuming mediated art forms at a more rapid pace. Additionally, they want to make art as well as consume art.

c) The subsidy for the arts is receding with the arts receiving a smaller piece of the philanthropy pie. (Sadly, it seems that the philanthropists haven't figured out that the arts are the critical piece to success in the social sector.)

d) The arts are increasingly less competitive. A disturbing condition considering the extensive amount of arts management training now available in the US as well as training opportunities through conferences like the National Arts Marketing Project. For arts organizations to exist they must recognize their unique position in their community and communicate broadly and deeply. They must continually educate and demonstrate their significance to their community -- as their RELEVANCE to the community is what drives both their earned and unearned income. Arts organizations must find ways to be their art and engage their audiences in new and unique ways if they are to maintain the already vexed system of nonprofit arts as it currently exists in our society. (another post on the vexed relationship of the arts to the nonprofit structure in the first place).

On the good side -- the arts are increasingly critical to the citizens of the United States. However, the relationship between the arts and their audience is changing -- from mentor/student to peer to peer. Online or in person, the organization has a relationship with its audience -- it's up to the organization to forge the first step.