Dynamic Arts Consulting

Hello back at Dynamic Arts!

I am returning from a summer hiatus from my blog and website.   I don’t have anything grandiose to show for it…. but, I have been continuously contemplating new opportunities and directions for this forum of arts administration.  Readers’ patience is appreciated during this time of fluidity.

Things I have been doing this summer besides blogging -

1.  Violin Vivacity: In July, I performed my first solo concert since my senior recital in 2005 – Songs and Dances for the Violin.  I had so much fun doing this concert and it threw me back into violin playing which is – after all – why I became an arts administrator in the first place!

2. Becoming a Baker: This summer I put my artistic abilities to work on French pastries and rustic Italian dishes as well as music.  Ever since learning how to scramble eggs when I was five, I have enjoyed experimenting by mixing up curious “soups” and other concoctions.

However, I am now on a mission to unveil mysteries surrounding particular types of baking: gluten-free, wild yeast doughs, and the perfect fruit tart.  On the way, I have come across some wonderfully insightful and informative food blogs and resources.

My favorites include:

Mastering the Art of....

• Chocolate & Zucchini written by Clotilde Dusoulier
• Gluten-Free Girl and the Chef
• The Sunny Raw Kitchen
• Not Eating out in New York
  

  summer garden

Scouring recipes that feature fresh local produce and seasonal ingredients makes ordinary cooking artistic and creative.

My latest masterpieces have been a raw blueberry tart from The sunny Raw Kitchen, and a French apple tart using Julia Child’s Mastering the Art of French Cooking cookbook.

Apple Tart

In the Arts:

A highlight  of summer for me is attending outdoor arts productions and festivals.

The summer kicked off with  Art in the Vineyard, featuring music from performers of the Oregon Bach Festival and a variety of artist’s showcases.

Later in the summer, the Eugene Symphony performed their second annual outdoor concert at the Cuthbert Amphitheater in Eugene on July 17.  A review of it can be found here at the AntSaint blog.

Alice in Wonderland tea party

The Roving Park Players showcased local talent of all ages in their production of Alice and Wonderland, an enjoyable rendition directed by Vicki Harkovich.  I attended a few different times – roving around to the play’s various venues including the Campbell Senior Center in Eugene, Island Park along the Willamette river in Springfield, Petersen Barn in north Eugene, and to finish at Maurie Jacobs Park on a different stretch of the Willamette in Eugene.  The above picture captures Alice with the March Hair, the Mad Hatter and the door mouse enjoying tea.

I am looking forward to next season in the park and all the other arts events that keep Eugene remarkably lively.

Now, the summer wanes and September arrives with a freshness and anticipation of the exciting year ahead… I will enjoy the fall harvest and getting back to school and beginning new violin lessons.

Fresh starts and new beginnings

Violin concert in the park, August 29

Orchestra Conference 2010 a la social media

Conferences in 2010 are more than ever demonstrating the multi-faceted uses and possibilities of online networking for arts organizations. This comes at a critical time, as arts organizations reflect on how they can work more with their constituents to increase engagement and build long-term audiencnes.

An example of a national conference harnessing social media this year is the League of American Orchestras 65th Annual Conference that took place  from June 15-19 Atlanta.  Appropriately themed – Its time to take on the future – the conference took large steps to embrace social media and created a strong online presence before and during the conference.

Orchestras are aware that in the 21st century cultural environment, it is no longer possible to ignore the importance of technology as a format of communication in the arts.  I was very glad to see the level of involvement from the League in promoting collaboration through online media.  The following techniques used at the National Conference encouraged a broad range of participation in conference conversations:

1. Orchestra R/Evolution, a website and blog forum was begun months prior to the conference.   Bloggers included the Knight Foundation’s Alan Brown;  Douglas Mclennan who administrates the online ArtsJournal blog; Ian David Moss of Createquity; and Eugene Symphony’s Development Director, Maylian Pak.
2. The opening session was video-streamed live online through Orchestra R/Evolution.org.  The 2-hour long video included a performance from the Greenville County Young Artist Orchestras, Jese Rosen’s opening speech and much more.
3. For further investigation, the conference program is available online at americanorchestras.org

what can orchestra leaders do to harness the energy and momentum created by this conference?

Four key areas that Jese Rosen, President and CEO of the League of American Orchestras, noted as critical ideas in symphony leaders’ quest for knowledge are:

1. fresh ways to sustain artistic vitality;
2. inventive and adaptive leadership;
3. innovative artistic and operational models; and
4. new frameworks for engaging with our communities.

I was not able to attend the conference myself, but am very interested to find out how these umbrella issues were tacked at the conference – so I have arranged a “post-conference” conference call for the 2010 Essentials of Orchestra Management participants.

The bold ideas and motivations that the League presents at its conferences and seminars are useful to the extent that orchestra administrators continue to debate and find solutions to the tough questions in a professional context.

To frame the upcoming conference call, I fished for the most salient questions from the conference proceedings.  My overarching theme will be : Communication. I emphasize the importance of encouraging collaboration among the orchestra musicians and the audience.  This creates stronger ties between the community and the orchestra as well as promoting a better understanding and appreciation of classical symphonic music.

These main questions from the conference illustrate the forward-thinking attitudes of orchestra managers today:

“What does the artistically vibrant orchestra need to look like to be essential for its community?”

“What makes an orchestras matter in the 21st century?”

How these questions are answered will affect each orchestra’s fortune in this cultural climate.  I will address these and other main points with the other trained and emerging leaders that I met at the Essentials of Orchestra Management seminar.  Social networking is a powerful tool which is no longer optional for successful symphony orchestras to harness and utilize effectively.

Symphony administrators work hard despite daily challenges to highlight the larger purpose of symphony orchestras that is to bring classical music to audiences.  Each orchestra’s effectiveness in accomplishing this goal will determine their future in the 21st century.

Background of Symphony Orchestras in the United States:

Because: “Those who do not learn from history are doomed to repeat it”……

To understand where orchestras are now, it is important to look back and understand their evolution.  Many orchestra leaders and those involved in orchestras note the need for change.  By looking at the most iconic orchestra in the U.S, The New York Philharmonic, I am attempting to point out a common progression that orchestras undergo from collaborative/community ensembles, to professionalized organizations.  This will be useful as a baseline for discussion of collaborative orchestra structures.

The Case of the New York Philharmonic

The New York Philharmonic Society began by a group of musicians in 1842.  The orchestra was created for the musicians’ personal enjoyment, which was reflected in the democratic structure.  Management depended on collaboration from all members of the philharmonic. While the new orchestra provided an outlet for local musicians, there were also a few challenges with the democratic, musician-run structure:

LOGISTICAL

The orchestra had to rely on the interest and availability of musicians to perform in concerts. Attendance at all symphony events was not seen as a requirement for musicians’ participation.   Logistics and personnel management  affect what type of repertoire an orchestra can perform.  Indeed, in a report of the orchestra, the secretary complains that the number of violin, viola and cello performers among the members…is quite sufficient for our concerts; but still for various reasons we have not had the proper number of either of these instruments at one concert during the season. (Mueller, 1951, p. 41)

FINANCIAL

Business matters often occupied symphony rehearsals and “the monthly concert was anticipated as a pleasant relief from more remunerative occupational duties” (Mueller, 1951, p. 41). The orchestra was supplemental income rather than a primary occupation for the musicians.  Income was split evenly between the active members of the orchestra, only the conductor and the librarian who were elected by the members, received salaries through a separate contract.

Consistency in pay does not seem fair when some musicians perform more concerts than others…..

ARTISTIC

Artistic choices were decided by personal preferences of the musicians.  The philharmonic focused on orchestral masterworks regardless of the community’s tastes or wishes. Because the musicians had created the orchestra for their own enjoyment, these personal choices of repertoire made sense. However, when the organization began selling tickets and performing throughout the community, the general lack of regard for audience musical tastes and preferences became an issue.

Outcomes

Despite the challenges noted above, the New York Philharmonic served as a strong foundation for the musical enjoyment and education of New York audiences. Additionally, it provided a model for other orchestras in New York and throughout the country. However, a lack of structure and a resistance to change did push some members away…

Theodore Thomas branched off from the New York Philharmonic in 1853 to create an orchestra for “the cultivation of the public taste for orchestral music’” (Sablosky, 1986, p. 71). Thomas subsequently became the well-known founder and conductor of the Chicago Symphony Orchestra in 1891.

The New York Philharmonic meanwhile operated much as it had begun until 1909, when it reorganized into the the New York Philharmonic with a modified organizational structure.  This change was initiated by Joseph Pulitzer bequeathed $1 Million to the orchestra under certain stipulations. Pultzer required the philharmonic to accomplish these tasks:

1) Establish a permanent membership corporation,

2) Secure 1,000 contributing members

3) Offer a lower and generally affordable admission charge

4) Perform concerts featuring Pulitzer’s favorite composers such as Wagner, Beethoven, and Liszt

This list of changes put forth by a visionary entrepreneur at the turn of the last century has a familiar ring to the changes that orchestras are still striving for today.

Jesse Rosen, president and CEO of the League of American Orchestras asks: How can we seize this moment to connect more Americans to our art in a way that strengthens orchestras’ financial health, the cultural landscape, and our communities?

Seizing the moment is the task of all orchestra people.  We must keep in mind that music is what we do – therefor this passion must always reign above all things.

“Music is a means of giving form to our inner feelings, without attaching them to events or objects in the world”

- George Santayana

For more information about the New York Philharmonic, a detailed history of the symphony can be found here: Google New York Philharmonic History

sources cited in this post are here: http://dynamicartsconsulting.com/orchestra-resources/

http://nyphil.org/index.cfm

Orchestras can build communities through music

At the close of the Lane County Community College Chamber Orchestra’s final concert  today, I was reminded of the value that  orchestras consisting of unpaid members or volunteers can bring to communities.   As part of the 12 member violin section of the chamber orchestra, I felt very fortunate to have to opportunity and accessibility of this ensemble in Eugene, Oregon.

Being the longest established of the professional nonprofit arts, symphonies create cultural destinations in many areas.  Community-based orchestras  benefit from being able to utilize strong organizational structures established by the symphony orchestra mammoths, but without the same level of accountability and management oversight as the professional symphonies.   So, community arts organizations can quickly asses community needs and maneuver themselves to fill existing gaps in the musical arena.

To illustrate the course of change between a community-based symphony and a professional orchestra, this brief history of the New York Philharmonic gives a synopsis of the early era of the famous orchestra.  The case of the New York Philharmonic shows how a group of musicians can influence the value of music in a community.

The crucial role that symphony orchestras play in their communities is important for all symphony managers, musicians, and audiences to consider.

Because orchestras in the U.S. are prominent players in the the musical fabric of this country…

Orchestras exist in all 50 states, in virtually every community, with annual budgets ranging from less than $12,000 to more than $83 million.
350-400 professional orchestras,
800-900 volunteer orchestras
150-200 collegiate/conservatory orchestras
400-500 youth orchestras

(from Quick Orchestra Facts, 2009, League of American Orchestras)

Building community through music is a forward-thinking approach that encourages an orchestras to bring music to the community and to those who would not otherwise have the opportunity to participate in classical music.

At the League of American Orchestras new blog discussion – Orchestra R/Evolution, Mark Clague notes:

what’s more important today than ever is to create community connections by reducing the barriers between orchestra and audience to forge a rich, interactive community of friends. What today’s orchestras have that is increasingly rare in virtually mediated life is a passion for lived experience. Sharing the joy of making great music with our friends must be our goal.

(The Power of Community, http://orchestrarevolution.org/?p=141)

Should some of the approximately 800-900 community orchestras in the United States be charged with the task of breaking barriers between classical music and audiences, or should it lie in the realm of the professionalized larger symphonies?

The answer is — both.  Community and professional ensembles working together to promote classical music will enhance the validity and influence of a broad range of performing arts.

NY Philharmonic Concert in the Parks

Greg Sandow proposes an innovative idea of including a broad range of community members in the creation of new classical pieces.  His post, A piece for the whole community, gives food for thought regarding the possibilities of community engagement.  This could be the perfect blending of professional/community symphonies with the common goal of developing future audiences.  That is truly building community through music!

community engagement  is critical for symphony orchestra sustainability.

Audience Development encompass the techniques and mechanisms that a performing arts organization uses to attract audience members.

I have lately been involved in an underground mission: stealth symphony audience development. Starting small – with my cadre of violin students – I am working to achieve the lofty goal of greater exposure to classical music throughout the community of Eugene, Oregon……. and beyond.

On May 20th, I was seen corralling a group of students of all ages as in the Hult Center for the Performing Arts, the main concert venue in Eugene and the home of the Eugene Symphony.   The concert hall will now be a memorable place for these students, rather than a foreign home to the elusive symphony orchestra.  One student described the experience as “transcending emotional experience”.

Last night, I took another group of students to the Eugene Youth Symphony concert.  Accessible for “young ears”, the concert consisted of the overture to the Barber of Seville, Bizet’s Carmen Suite, and Symphony Espagnole for Violin by Lalo.  There was also a new work by Steven Stucky,  Son et lumiere which challenged both the orchestra and the audience.

These concerts were an opportunity for my students to see orchestras in action and also become familiar with the concert experience.  Education and community engagement are integral for symphony orchestras to maintain relevance to future audiences.

Operating as an initiator, I am working to bringing new audiences to concerts which is a main goal of symphony orchestra marketers.   Says Joanne Shceff Bernstein:

” Initiators constitute 18 percent of culturally active adults (people who attended any arts events in the past year)  are the kind of person who likes to organize outings to cultural events for friends”.  (Arts Marketing Insights, p. 60).

Silva Concert Hall, Hult Center

Audience development seeks to provide appealfor frequent ticket buyers while simultaneouslyreaching new attendees. Within the current economic climate, audience development has become more complicated among shifts in community demographics as well as increased competition for organizational funding.

While enjoying a fine performance by the Eugene Youth Symphony, I was a reinvigorated with optimism for the future of symphonies.  Orchestra music is relevant and will continue to touch audiences while new symphony musicians remain on the horizon.   Stealth audience development = success.

Providing student discounts, group rates, and rush tickets are ways that an organization can reach new audiences and start building a relationship with them.  This can lead to future subscribers and donors.

My stealth audience development familiarizes an interested audience with orchestra concerts while the students are also learning to play an instrument.  The majority of symphony orchestra audiences have experience playing a musical instrument or another personal connection to orchestra music.

Artistic programming, the “product” of symphony orchestras, is the most critical component of the organization’s outward representation in a community.

Artistic directors have historically been the masterminds of symphony programming – as noted in this article – discussing James Levine’s work with the Boston Symphony.

Another major orchestra, the L.A. Phil, was rewarded by the League of American Orchestras for innovative programming in 2009.  The L.A. Times commented:

During his 17 years as music director, Salonen shifted the orchestra’s repertoire toward more modern works with an emphasis on 20th century and new music.

Other Programming awards by the League in 2009 included these orchestras:

• John S. Edwards Award for Strongest Commitment to New American Music:
  Cabrillo Festival of Contemporary Music
  Marin Alsop, music director and conductor
• Morton Gould Award for Innovative Programming:
  Los Angeles Philharmonic
  Esa-Pekka Salonen, music director
• Leonard Bernstein Award for Educational Programming:
  Albany Symphony Orchestra (Albany, N.Y.)
  David Alan Miller, music director and conductor
• Award for American Programming on Foreign Tours:
  Orange County (California) High School of the Arts Symphony Orchestra
  Christopher Russell, music director

But really — How do symphony orchestra managers decide what pieces to perform at concerts and how does the programming affect other functions of the organization?

To try to answer this question, my thesis assessed the link between internal organizational dynamics and artistic programming of the Eugene Symphony in Eugene, Oregon.  This work sparked my ongoing interest in how programming relates to the individuals involved in decision-making as well as the desired outcome.

Artistic programming is the most important factor for audience members and can determine the success of a symphony season.  The artistic challenge is to create a link throughout the season, and even between multiple seasons that encourages audience members to attend concerts while providing stimulating repertoire for the musicians and the conductor.

My master’s research and further investigation has showed that collaboration is a critical component of symphony artistic programming.  So…..I am diving back into my collaborative case studies with vigor to see how a variety of organizations in the industry approach collaboration and artistic programming.

Is it really just the conductor who decides what pieces to play?  Is that good? Bad?

from: www.CartoonStock.com.

Lets leave that to the experts

Greetings again from Eugene, Oregon!

Recently, this blog has been on a hiatus while dynamic arts focused on some other important tasks.  Though not writing regularly here, I have been busy with consulting projects, playing in local orchestras, and working on my own violin performance (TBA).  I have also been taking steps to maintain a balance in life with  hobbies of baking, knitting, and outdoor recreation (in the sun).

This is how I’ve used my short blog hiatus effectively:

• Updated New Look: To re-invigorate the blog and add a professional and artful feel, I updated my website template and learned more about Wordpress customization.  There is still work to do in this area, and the design may continue to transform as Dynamic Arts Consulting grows and develops.  I also began a new section; performing arts sources, that will be populated with the most useful texts in the performing arts field that I am aware of.
• Blog-Worthy Projects and Posts: While not posting continuously, I have nevertheless been mulling and working on different strands and ideas for this arts administration blog.  Upcoming posts will address collaborative symphony organizational cultures and building open communication patterns.  As that progresses, I will also look at audience development and music education.
• Leisure time! We all need time away from work, even when it is our lifelong passion.  I have been ensuring time for running and coffee with friends to keep an even plane of activities in my life.  I have also been on the road to the East Coast, where I had the opportunity to see the Allentown Symphony in concert in Allentown Pennsylvania, as well as a performance at the  Levine School of Music in Washington D.C.

Now back in Eugene and focusing on the blog, I will look forward to writing again about my consulting experiences and musical exploits.  Thanks for hanging in there and keeping watch on what dynamic arts is up to next!

How do orchestra managers effectively include the musicians in decision-making and create a positive organizational culture?

Though not often discussed among arts leaders - due I think partly to the daily rigours of managing a nonprofit arts organization - performing arts literature does address the need for open collaboration in arts organizations.   Below are a few examples:

In Organizational culture and creative processes Boerner and Gebertd etermined that

 ”an open organizational culture, in which each individual considers herself or himself not an object but a subject, enhances the development of creative impulses. That is because everybody thinks he or she is able to change something” In this way, communication throughout the organization becomes a key aspect of organizational culture and ideals”.

An article written by Semour and Robert Levine in April 1996, Stress and Discontent in the Orchestra Workplace notes that when members of an organization have control in decision-making, they are also more likely to have increased motivation and satisfaction in their working environment.  Therefore,

 ”an overall lack of control over internal decision making has been argued as a significant cause for internal orchestra tension”.  

Recall the inherent tension?

So, my current mission is to discover performing arts organizations that utilize a collaborative structure and analyze the effectiveness of their decision-making.

My list keeps growing, but currently showcases these organizations:

• Orpheus Chamber Orchestra
• C4
• Louisiana Philharmonic
• Saint Paul Chamber Orchestra
• Salem Chamber Orchestra
• Columbus Symphony

I am keen to discover new collaborative or musician-run organizations.  Please help add to my list!

By investigating the positive and negative aspects of these organizational structures and cultures, I hope to discern how symphonies can utilize collaborative techniques.

Stress in the work environment including tense union negotiations between orchestra musicians and management as well as a lack of control over decisions creates inherent tension in symphonies.  I believe that there are ways of mitigating this tension through different management structures.

The main question is: Are collaborative symphony orchestras sustainable?

This theory will be tested and evaluated through case studies posted on this blog.  I particularly enjoy feedback which is vital to continue this conversation and implement positive change in the field.