Whole Educators: A New Model for Teacher Professional Development

Posted by Molly Uline-Olmstead On April - 16 - 2014
Molly Uline-Olmstread

Molly Uline-Olmstread

Museums go with schools like peanut butter goes with jelly. It is a beautiful symbiotic relationship built on a variety of interactions including field trips, distance learning, traveling artifact programs, and teacher professional development. While I have worked with all of these programs in the past, I have been living in the teacher professional development neighborhood of the museum world since 2009. I work with K-16 teachers and other museum educators on projects meant to support and enhance teaching in the humanities through my job with the Creative Learning Factory at the Ohio Historical Society (the Factory).

Lately in conversations with teachers and museum colleagues, we have been talking less about content and more about learning. We have been asking the question, “How do we make learning an inextricable part of life?” Educators in formal and informal learning environments are bombarded with resources, regulations, and tremendous responsibilities. We struggle to find balance and time for exploration and reflection amid testing, lesson planning, and classroom management. Peter D. John articulates this frustration well in his 2006 article about non-traditional lesson planning, “The model of planning and teaching represented in this minimalist conception develops as follows: aim > input > task > feedback > evaluation. It reflects an approach to teaching and learning wherein reflection and exploration are at worst luxuries, not to be afforded, and at best minor spin-offs, to be accommodated.”  As cultural organizations, we are in that unique “third space,” which allows us to facilitate those crucial habits-of-mind that lead to life-long learning. I think of this as looking at the “whole educator” in the same way the education field has championed the “whole child.” Read the rest of this entry »

A Rare Species in the Midwest

Posted by Ruben Quesada On April - 16 - 2014
Ruben Quesada

Ruben Quesada

“Man’s capacity for justice makes democracy possible; but man’s inclination to injustice makes democracy necessary.” - Reinhold Niebuhr

In thinking about the impact of art on society, and in my case the impact of literature, I look back to the poetry of Walt Whitman, who in 1855 self-published Leaves of Grass. Whitman’s determination and willful inclusivity put him ahead of his time. Adapting to the changing pressures of the world around him, Whitman took the subject of the Civil War to render with convincing appeal the volatility of his nature and time. He resisted existing poetics conventions and used candid language to more accurately represent the world around him; he showed the beauty and ugliness of the men and women in America on equal terms. The subject of his poetry was of the ordinary—the working class, drug addicts, prostitutes, the rich and the poor. The tradition of Whitman’s “barbaric YAWP over the roofs of the world” continued to echo through most of the Twentieth century. It was subsequent generations of poets who sustained this idea (e.g., Paul Laurence Dunbar’s Lyrics of Lowly Life, Carl Sandburg’s Chicago, Allen Ginsberg’s Howl, Gwendolyn Brooks’ The Bean Eaters). Poetry for and about everyday Americans was born with Whitman and for most of the Twentieth century it became the standard. Readers like to see themselves in the stories they hear; they like the familiar.

In many ways the stories found in literature help readers understand what is artful, beautiful, or good. As a poet the world around me informs the content of what I write. Often, as with any art, social and political movements influence its content and creation. Many social and political revolutions have been born through art because it has the power to make us question what is right and wrong. Take for instance the work of performance artists Karen Finley and Tim Miller, two of the NEA Four whose artwork led them to be denied an NEA grant because of the content of their artwork; the content of their work led lawmakers, artists, and art lovers to question what they considered to be art. Where do we draw the line between pornography and art? What is art? Read the rest of this entry »

The Rise of the Mid-Career Arts Professional

Posted by Joshua Rusell On April - 15 - 2014
Joshua Rusell

Joshua Rusell

It sounds like a superhero sequel: First there were arts leaders, then came emerging leaders and now, the ‘mid career arts professional’ movement is gaining steam. I mean Americans for the Arts is creating a pre-conference for them at the upcoming Annual Conference in Nashville. It has to be legit, right?!

For most of my arts career, I saw myself and was viewed as an emerging leader. I took great pride in participating in meetings representing the future of the arts. But recently that has changed. I took notice of it when the folks at genARTS Silicon Valley (our region’s emerging leader network) started calling me “the Godfather” or was it “the Grandfather”? I’m pretty sure it was the first one, but either way, the message was clear – I wasn’t really one of them anymore. Read the rest of this entry »

The Cost of Creativity

Posted by Teresa Hichens Olson On April - 15 - 2014
Teresa Hichens Olson & students

Teresa Hichens Olson & students

My morning has been spent with 26 third graders mummifying Barbies, writing in hieroglyphics, and learning about ratios in relation to an ancient Egyptian cure for stomachaches. (The cure, by the way, is a mixture of garlic and honey, which produces enzymes in the body to reduce acid. A cool fact no matter how old you are.)

I start each class, as I always do, with four words: I am an artist. And my goal each day, no matter which classroom I’m in or age group I’m working with, is to show each student that they are artists as well–which may seem a bit idealistic or naïve, but after 22 years of teaching, I’ve found it always to be true, because the definition of art for me is wide.

My favorite type of student is the Hater. The one who says he or she hates art, followed by either a wonderful eye roll or guttural groan.  It is this child who was taught early on that art is a flat thing which doesn’t break rules, that has to behave a certain way and is only good if the person standing in the front of the room says it’s good. We’ve all been in that class. And it isn’t the kind of art that builds bridges between creative thinking, innovation, and science. Art can be dangerous. And, I would argue, it needs to be.  Read the rest of this entry »

Arts Leadership and the Changing Social Contract

Posted by Emiko Ono On April - 15 - 2014
Emiko Ono

Emiko Ono

Since I began working in the arts in 2001, there has been a subtle but constant pressure on the sector to transform that can be both distressing and motivating. I will never forget the time in 2003 when Mark O’Neill, then the Head of Museums and Galleries for the city of Glasgow (Scotland), described how a population of shipyard workers reported that they did not attend a nearby museum because the price of admission was too expensive. The nauseating twist was that the museum did not have an admission fee. Last week, this story came to mind again as I spoke with Susie Medak, managing director of Berkeley Repertory Theatre and an arts leader with more than 25 years of experience. Susie’s hypothesis—that the tacit social contract between society and arts organizations is changing—is one I have found to be incredibly useful. The premise of her theory is that it is no longer sufficient for arts organizations to provide distinctive work, attract an audience, and secure financial support—it needs to include wider swaths of people who are largely not involved.  Read the rest of this entry »

Automated Asks and Personalized Packages: Arts Management in 2023

Posted by Michelle Paul On April - 14 - 2014
Michelle Paul

Michelle Paul

For the past nine years, I’ve been in the business of creating new technology systems for the arts, and teaching arts managers (particularly those in marketing, development, and box office roles) how to get the most value out of the tools available to them.

The world’s technology landscape has changed dramatically in the nine years I’ve been at my job. Thanks to all the amazing developments that have happened since early 2005 (YouTube, iPhones, and Twitter …just to name a few), today’s arts patrons are more tech savvy, more connected, and more engaged than they were when I started working in this industry.

Many of today’s arts managers are keenly aware of the opportunity that this presents, but there are some who look at these trends and sound alarm bells for the end of the arts world as we know it. With so many “high tech” entertainment options available, will people continue to value traditional art forms? If the very idea of “tweet seats” makes you shudder, it’s easy enough to look at technological advancement as yet another challenge that’s facing the arts. Read the rest of this entry »

Brea Heidelberg

Brea Heidelberg

Despite my professional life (teaching, research, and service) revolving around words, I continue to struggle with how to define the diverse groups of Emerging Arts Leaders (EALs). Even “groups” seems wrong to me, as it often implies an element of (mutual) exclusivity that does not often exist. But that’s the thing about language—you use what you’ve got until something better comes along. I don’t think the Romans would have stuck with “Carpe Diem” if “YOLO” were an option.

EALs, in my opinion, have a fairly diverse range of individuals with different, albeit often converging, concerns. Keep in mind that the numbers here are mere guesses. We are all still playing a rousing game of Duck Hunt when it comes to hitting the numerical mark. Read the rest of this entry »

Elena Muslar

Elena Muslar

“We have got to diversify our audiences!” How many times can you recall hearing this phrase in meeting after meeting? And yes, of course, the mantra still rings true. But, what are the ways in which target marketing campaigns reach out to those diverse audiences?

“It’s Black History Month! Let’s offer a special on tickets to ‘A Raisin in the Sun’! The Latin show is coming to town; let’s advertise our banners along the streets of East LA.” I could go on, but now is not the time to dwell on past mechanisms of “outreach” done with fairly good intentions. This is the time to go beyond talking about these kinds of basic ideals of promotion and start changing our values towards active relations. It’s the time to chart the future and put models into play that not only shift, but flip, the paradigms set in place that don’t currently reflect expanding communities meant to be served by arts organizations.

As a young woman of mixed race, being half-Black/half-Belizean, I am a product of a community that was just “out of reach”; that desperately needed the “out-reaching”. When more criminals cross the threshold of your apartment complex than high school graduates, you learn early on that you have to be strong enough to stretch your reach further when that reach from the other side doesn’t make it far enough. As a “Next Gen” arts leader, this has been a huge inspiration for me to have a voice that extends beyond my community and into those buildings laden with white walls. I see myself as a bridge between worlds and am committed to paving roads that provide better access to communities resembling mine. Read the rest of this entry »

Abe Flores

Abe Flores

Change is the only constant in life and in art. Demographic shifts, technological leaps, economic cycles, and cultural trends require creative, knowledgeable, and skilled leaders to ensure the relevance and resilience of all art forms. When old ideas, values, and models become obsolete, it takes leaders to chart the future to accommodate the changing reality. Experimentation, risk and failure are inherent in the charting of the future. No one knows if something will really work until they implement it. That is why I am a fan of the term “pilot program” – it tells the world that we are trying something new and it may not work. Younger leaders often take on the role of charting the future and piloting programs because we are the future: demographically diverse, technologically savvy, and more inclusive in our values.

The Americans for the Arts Emerging Leaders Council, a body of fifteen incredibly smart, visionary and engaged young arts professionals, acts as a brain trust informing and advising Americans for the Arts (AFTA) on trends, new ideas, latest models, and the direction of the field in order to assist in developing new programs and resources to promote professional development and networking opportunities for young professionals nationwide. Part of my role at AFTA is liaising with the council and working with them to present and implement their best ideas and strategies. In the couple of months I have been working with them it has become clear that there is much great work yet to be done. I am very excited to see what develops and very thankful to be part of the process. My brain is divided between my immediate daily tasks (blog salon, convention, digital classrooms etc.) and contemplating how we can best serve and advance the field. Read the rest of this entry »

Dreaming Big To Focus

Posted by Nick Dragga On December - 18 - 2013
Nicholas Dragga

Nicholas Dragga

Our production manager had an iron-clad rule, “Do NOT let the artistic director see other Nutcrackers within three weeks of our own.” Don’t get me wrong, we all LOVE the creative process, but when you’ve been working on a production for six months with 150 performers, 30 crew, and hundreds of calls, making drastic changes the last week gets difficult.

Our artistic director, in all her excitement would sometimes say, “I have some great ideas! So, let’s go a whole other direction with those costumes.” Those were the 12 costumes that took 30 hours each to make…

Can anyone relate?

Again, we love the creative process, because as we all know it is through the process that great discoveries happen. We certainly do not want to minimize or squelch the excitement of our artistic director, but want to create an environment that rewards and fosters daring, creative thinking. We firmly believe that if you don’t fail every now and then, you’re not doing it right. Failure is noble. But, poor execution, laziness, or lacking of planning is not.

Creativity is not an excuse for chaos. Creativity is a discipline.

Epiphanies are a myth, or as Chuck Close said, “Inspiration is for amateurs. The rest of us show up and get to work.”

So what do you do? How do you keep the excitement and freedom necessary for creativity – or simply work with artistic director, who is in fact the boss – but still be practical and give your production team the time and structure to thrive…or survive?

We get more creative. We dream bigger. We dream big, huge – almost impossibly big…to focus the artistic directors. Read the rest of this entry »

On “Emerging”

Posted by Lindsay Sheridan On December - 13 - 2013
Lindsay Sheridan

Lindsay Sheridan

If I had to compress my identity into just a few words, I guess I’d go with “emerging arts leader.” That’s the popular phrase for what I am, right? A 20-something, fresh-out-of-college, five-years-or-less-of-experience young arts professional. What am I emerging to? Unclear (and impossible to predict).

What I do know for certain is this: I am called to work in this field because I believe passionately in the arts’ ability to contribute uniquely to a community’s sense of identity – to provide local, intimate, authentic experiences. I am called to this work because the arts have always been central to my own life, and it never really occurred to me to dedicate my career to anything else.

Certain artistic moments have evoked inexplicable emotions: sitting among an audience entranced by a cello and dancer duet in a warm, intimate venue. Taking in a favorite song by a folk-rocker on a perfect summer night in the grass at Wolf Trap’s amphitheater. Looking up to see my conductor’s smirk of pride in the middle of our Rachmaninoff-composed lyrical viola soli. These snapshots are more than just pleasant memories – they are some of the most important markers on my life’s timeline. This work is my vocation: I’ll do whatever it takes to allow individuals and communities to encounter these intangible, powerful experiences.

All this emotion aside, I am currently an unemployed emerging arts leader. When my internship in DC ended in mid-August, I felt like I was in great shape. The summer had brought about several interviews, and I arrived back in the Midwest with a job offer (hooray!). After much internal debate, I made the somewhat foolish decision to turn down two offers. A job that I really wanted needed a couple weeks to complete their decision-making process and I thought I might get it. I didn’t. After a few more road trips across the Midwest and second place results, I had to reevaluate. If I didn’t want to wait around for the right job in a familiar geographic location, it was time to throw caution to the wind and apply for positions in such foreign lands as Ohio, Massachusetts, and Missouri. Read the rest of this entry »

A Degree in the Arts: Perspectives from Postgraduates

Posted by Alexandra Milak On October - 30 - 2013
Alexandra Malik

Alexandra Malik

I remember when I applied to the Tisch School of the Arts at New York University (NYU). My high school experience was not ideal, and I had always dreamed of pursuing something in the arts. Sophmore year of high school I tried out for the fall drama production, and there was no going back from there. I worked hard to keep my grades up and fill my resume with impressive extracurriculars; I applied to nine different schools, really only wanting to attend NYU. The day I was accepted was probably the most memorable day of my life. It signified a turning point: I was about to embark on the journey of my dreams.

Looking back, I don’t doubt that it was the most worthwhile choice I’ve ever made (which is lucky, because I, as most high schoolers are, was pressured to make that decision when I was only seventeen years old). I learned so much about myself as a performer and a human being, and became an instrument through which characters could live, breathe, and have their stories told. It was the opportunity of a lifetime, and an experience which I will never forget. That being said, during my time at NYU, I wasn’t completely honest with myself about the realities that lay ahead of me once I graduated. It was hard to keep questions about the future clear in my head because things were so uncertain post-graduation. Still I wondered, was pursuing a degree in the arts worth it? Read the rest of this entry »

Partnering with Eileen Fisher (from The pARTnership Movement)

Posted by Katy Rubin On October - 17 - 2013
Katy Rubin

Katy Rubin

Today I’m writing from my desk in Brooklyn, as the founder and artistic director of Theatre of the Oppressed NYC (TONYC). TONYC, 2+ years old and growing, partners with local communities including homeless adults, immigrants and LGBTQ homeless youth to create and tour original plays inspired by real‐life struggles. Our interactive performances engage audiences in creative problem‐solving and transformative action.

Back in the summer of 2010, I was working as a freelance teaching artist. One of my employers, a girls leadership initiative, was funded in part by Eileen Fisher, the women’s clothing company. All I knew then about EF was that zen-looking women wore flowy clothes in the NY Times ads that my mother and I had always admired. Then I got a call asking if I’d come up to Westchester, where EF’s headquarters are located. The EF Community Foundation had heard that the Theatre of the Oppressed course was very popular down in the city, and invited me to teach in their pilot Leadership Institute, modeled after the same program they funded in NYC. I immediately noticed a special vibe; the first day I walked into the EF headquarters, the janitor whispered to me: “I love working here: shhh, don’t tell anyone.”

I was excited about the work Eileen was doing around girls’ and women’s leadership (being an emerging leader myself, as well as a young woman). The company was similarly excited by the Theatre of the Oppressed methodology I brought, and how it connected the young women to each other and to their communities, through identifying and transforming collective challenges. At the performance I facilitated that summer, Eileen spoke about the importance of investing in the confidence and creativity of young women, sparked by the challenges she faced when starting the company 30 years before. I didn’t know yet that I’d soon be running a growing arts-and-social-justice nonprofit, and that I would sometimes struggle to find my own confidence as a young, female leader. Read the rest of this entry »

Collaborations with Local Businesses, or Doing Business with…?

Posted by Nick Dragga On October - 16 - 2013
Nicholas Dragga

Nicholas Dragga

I have a love/hate relationship with collaborations. On the one hand, I think they are the greatest thing- the key to our future. They offer opportunities to further Ballet Lubbock’s mission through unique and hopefully unexpected projects to diverse audiences, act as a gateway to more arts participation on all levels, and ideally, bring in some much needed cash. When everything aligns properly, we can create something that truly is greater than the sum of our parts- something that neither we nor our collaborator could ever do alone.

On the other hand, I often wonder, “is this worth it?” This “collaboration” is a LOT of time and energy. I have to jump through so many hoops for this corporate “partner,” compromise my product, and take the time of my dancers, artists, and staff to ultimately help this business sell their products…and all for $500…or maybe even $5,000.  Ugh.

If money is what I’m after, then spending time with individual donors would be more fruitful. If engagement is what I’m after, than bringing OUR uncompromised product to the community would be easier, and often times, more meaningful. Sometimes I think these “new faces” brought in by our business collaborator see us as the hired entertainment – which may possibly do more harm than good in building our brand.

But, the flaw in my logic seems obvious. There is a distinct disconnect between my objectives and my strategies and outcomes. I was not collaborating; I was doing business with people. Of course doing business with people is a great and wonderful thing, but different than collaborating. Read the rest of this entry »

Breaking Barriers and Embracing Change: A History of the Apollo Theater

Posted by Aryana Anderson On October - 9 - 2013
Aryana Anderson

Aryana Anderson

Before the Apollo Theater opened for its inaugural performance on January 26 1934, Harlem’s 125th street was a shopping center for residents in the mostly white upper-middle class neighborhoods surrounding Columbia, Barnard, and the City College. The theater that became the Apollo was erected in 1914, designed by a prominent architect whose projects included the Belasco and later the Selwyn (now known as the American Airlines) Theaters. From 1914 to 1934, the theater served as a venue for burlesque and vaudeville performances. In the early 1900’s developers had invested substantially in the Harlem community in anticipation of the 1904 opening of an elevated subway line connecting uptown with downtown. By the early 30’s 125th street had become a substantial commercial and entertainment center. At the time that the Theater was re-christened as the Apollo, the real estate bubble brought on by the prospect of growth in upper-Manhattan had burst. White New Yorkers did not move to Central Harlem in the numbers anticipated by developers leaving many newly constructed residences empty. Rather than lose out on their investments owners then rented their properties to African-Americans who had been living in the area of Manhattan’s Upper West Side, Lincoln Square and Hell Kitchen neighborhoods, and who were arriving in New York from the South and Caribbean. This took place over the period of time known as the Great Migration.

Looking back on this period of history, it is apparent that waves of change we face today echo the challenges of generations past. Whether the changes are social, technological, or physical, the only thing leaders are guaranteed to face over time is change. Read the rest of this entry »