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Futurists\' Assembly [clear filter]
Friday, June 2

9:00am PDT

"Future Shock" and the Future of Arts Administration

What does it mean to be an arts administrator, and an arts administration educator, in this new era? Is it enough to be a skilled marketing manager of a local chamber orchestra or mainstream (i.e. not challenging) theatre company, or is more required of all of us as artists and arts administrators? If as Shelley said, artists are the unacknowledged legislators of the world, what does that mean for our curricula and how will and should we as artists, administrators, and arts administration educators, handle the shock of the Internet’s alteration of what performance, publication, exhibition and audience mean, while the fundamental questions of what it means to be a modern society are now so urgently and shockingly put before us

Friday June 2, 2017 9:00am - 9:30am PDT
QMU Brodie Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

9:45am PDT

Arts and Social Change: Content and Pedagogy for Arts Administration and Management Programs

Arts and Social Change, A Must: Part 2, How To: Content and Pedagogy for Arts Management Programs
Leonie Hodkevitch, Morenga Hunt

A global array of societal factors has prompted increased conversations about identity and community based on diversity, equity, and justice. The expectation that cultural projects should and can contribute to social justice through diversity, inclusion and equity has long gone beyond social projects and concerns a wide variety of art and cultural projects. Within this context, artists, arts administrators, and cultural workers around the globe are engaging more deeply to assist in addressing these urgent challenges. Forward looking arts administration educators and managers are having new discussions about the role of arts and culture in addressing issues of social justice, community cohesion, inclusion, and civic engagement. The panel will explore options for content and pedagogy, theories, practices, and models for programs. A group exercise and wrap-up discussion consider concepts and strategies that participants can apply in arts administration courses. By the end of this session, attendees will: (1) consider policies, strategies, and practices for inclusion of diversity and social justice content within arts administration curriculum; (2) add pedagogical strategies for inclusion of diversity and social justice content, (3) identify benefits and challenges of making these curriculum content changes, (4) share relevant diversity and social justice content in their own Arts Administration programs. (5) connect to other colleagues dedicated to this field.

avatar for Leonie Hodkevitch

Leonie Hodkevitch

Director of the Cultural Management Certificate Program of the University of Vienna, Austria, and Founder of NPO 'Clearl, University of Vienna and Clearly Culture
Leonie Hodkevitch was born in Sofia, Bulgaria, and raised in Vienna, Austria. She earned her Masters’ degrees in Social and Cultural Anthropology and Romance studies. Leonie’s fascination and commitment for cultures led to founding the NGO Clearly Culture that pursues inclusion... Read More →

Morenga Hunt

Adjunct Faculty, Masters Degree & Graduate Certificate Program in Arts Administration, Winthrop University
Morenga Hunt is an adjunct faculty member and advisor in Winthrop University’s Master of Arts in Arts Administration program (MAAA). His previous experience includes seven years as the managing director of a performing arts center in Manchester, England, U.K., and eleven years as... Read More →

Friday June 2, 2017 9:45am - 11:15am PDT
QMU Buchanan Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

9:45am PDT

Learning From the Past and Preparing for the Future: What Can We Expect?
Overtaken by Events: Why do North American communities keep building performing arts centers for artforms that cannot sustain them?
Jim O'Connell

North America has experienced four booms in the construction of performance spaces. The 1880s brought Opera Houses; the 1920s, Movie Palaces. The 1960s placed Performing Arts Centers in cities and on campuses. In the first decade of the 2000s, a surge of construction/renovation sited performance facilities in struggling downtowns and connected them to public schools.

Two things are striking about these continent-wide booms: The regularity of the cycle (1880s, 1920s, 1960s, 2000s: every forty years!) and the fact that, in each case, the primary artform for which the new performance spaces were designed was in decline even as new facilities were constructed. Vaudeville began to be overtaken by silent film in the mid-1890s. Silent film was eclipsed by talkies starting in 1927. Symphony Orchestras and other non-profit tenants of performing arts centers yielded financial primacy to touring Broadway shows by the 1980s. And the publically-traded entertainment behemoth Live Nation was forced to sell its Broadway Across America subsidiary in January 2008 due to the inconsistent profitability of theatrical tours.

The question then is Why? If they wish to host currently popular artforms, communities must upgrade or replace venues that are no longer up to the task.  But why does that renovation/construction take place so late in the life-cycle of each successive artform?

Drawing from such studies as Joseph Golden's Olympus on Main Street (1980), Set in Stone by the University of Chicago's Cultural Policy Center (2012) and Building for the Arts by Peter Frumkin and Ana Kolendo (2014), I examine the process of cultural building booms. With the guidance of such works as Mary P. Ryan’s Civic Wars (1997), Deyan Sudjic’s The Edifice Complex (2005) and Robert Gordon’s The Rise and Fall of American Growth (2016), I attempt to place each one in historical, psychological, cultural and political context.

I argue that, although trends in popular culture, aesthetics and advances in technology spur the need for new/renewed venues, the timing of construction surges depends more upon advances in building materials, construction and fire codes; changes in transportation and residential patterns; civic pride, and generational transfers of wealth and power. I will conclude with an effort to identify trends that may shape a fifth performance building boom, a quarter-century from now.

Body & Soul: Combining Slow Food successes and Music Cities metrics to invigorate the sustainability of music and the performing arts
Catherine Moore

The hypothesis for this paper is this: "A music-centred initiative explicitly modeled on the Slow Food movement and using sustainability metrics from the Music Cities research base will counterbalance Baumol's "cost-disease" problem and expand opportunities for performing arts organizations."

To examine the hypothesis, this paper brings together (a) comparative analysis of the Slow Food movement (founded in 1986), with a focus on multi-national localization, grass-roots communications networks, and success in changing long-standing consumption habits and production protocols; (b) research and theoretical frameworks recently developed by the multi-national Music Cities initiative; (c) a re-examination of economist William Baumol's "cost-disease" concept (first published in 1966) and new models for measuring labour productivity; (d) an assessment of new ways to measure success in the nightclub industry and the ways that artistic creators either affirm or negate a sense of place; and (e) a case study on music and arts initiatives in the city of Glasgow, Scotland, with a focus on funding models, results measurement, and the city's explicit prioritization of the arts as a contributor to a sustainable city.

It's important to note that in applying the Slow Food ethos to music and the performing arts, the word "slow" does not mean soft, bland, simple, or slow-paced. Instead "slow" connotes taking the time to savour complexity, to be enriched by repetition and variation, to value and enjoy listening. The idiom "keeping body and soul together" inspires the title of this paper because it resonates so deeply with the health of people and cities through the arts.

The results of this investigation will test the hypothesis; create new ways for arts organizations to measure and communicate value; and be relevant pedagogically by illustrating how a practical framework can anchor teaching about start-ups and value creation.

avatar for Catherine Moore

Catherine Moore

Adjunct Professor, University of Toronto
Catherine Moore is Adjunct Professor of Music Technology & Digital Media, University of Toronto. Formerly Director of the NYU Music Business Program, her teaching focuses on strategy, international expansion, start-ups, and new technologies. Dr. Moore is a graduate of Bishop's University... Read More →
avatar for Jim O'Connell

Jim O'Connell

Assistant Professor / Arts Management Coordinator, University of Wisconsin-Stevens Point
After twenty-two years as executive director of Wausau’s Performing Arts Foundation, Inc., managing the historic Grand Theater and Wisconsin’s most comprehensive local arts agency, Jim O’Connell moved to the academic world in the Fall of 2014. He now serves as Assistant Professor... Read More →

Friday June 2, 2017 9:45am - 11:15am PDT
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

9:45am PDT

Sustainability and Culture: Innovations and Best Practices
Sustainability and Culture: Innovations and Best practices
Dee Boyle-Clapp, Ben Twist, Ian Garrett

The Center for Sustainable Practice in the Arts defines sustainability as the intersection of environmental balance, socialequity, economic stability and a strengthened cultural infrastructure. This workshop will discuss how to cohesively connect arts management with climate concerns, economic opportunity, and trimming an institutional bottom line. Featuring three arts leaders from three countries, this workshop will showcase the smart sustainability practices of arts organizations; innovations exemplified by the Edinburgh Fringe Sustainable Practice Award winners; case study highlights from three countries. Breakout exercises will help attendees integrate sustainable practice topic in their curricula, including how to create alliances, reward and recognize green innovations, and promote efforts to build community and donor support.

avatar for Dee Boyle Clapp, Arts Extension Service, UMass Amherst, Director

Dee Boyle Clapp, Arts Extension Service, UMass Amherst, Director

Director, UMass Amherst
Dee Boyle Clapp leads training programs in a variety of arts management topics for state arts agencies, teaches in AES’ arts management degree and certificate programs, and conducts AES research projects. Dee is a sculptor, installation artist and has over 25 years of experience... Read More →
avatar for Ian Garrett

Ian Garrett

Assistant Professor of Ecological Design for Performance, Center for Sustainable Practice in the Arts (US) / York University (CA)
Ian Garrett is designer, producer, educator, and researcher in the field of sustainability in arts and culture. Ian is the co-founder and director of the Center for Sustainable Practice in the Arts (C Ian Garrett is designer, producer, educator, and researcher in the field of sustainability... Read More →
avatar for Ben Twist

Ben Twist

Director, Creative Carbon Scotland
Ben has over 25 years’ experience of producing events and running permanent and temporary venues in the cultural sector, working at all scales and on all sides of the business, from content development to staff and financial management. He has taught at Edinburgh University, the... Read More →

Friday June 2, 2017 9:45am - 11:15am PDT
QMU Montgomery Room Queen Margaret Dr, Musselburgh EH21 6UU, UK