ARTSblog

Ian David Moss

(This three-part post is the first of a series on emerging trends and notable lessons from the field, as reported by members of the Americans for the Arts Emerging Leaders Council.)

The three enterprises discussed in Parts 1 and 2 are hardly the only examples of conservatory musicians or classically-aligned individuals shaking up the classical world with innovative ideas.

Here are a few other notable instances of classical music entrepreneurship that I’ve come across:

•    The Wordless Music Series burst on to the scene in New York five years ago, presenting a head-spinning mix of programs combining first-rate classical ensembles with esoteric indie rock bands on the same bill. Founded and curated by a former Chamber Music Society of Lincoln Center staffer, Ronen Givony, Wordless Music bills have included Godspeed You! Black Emperor, composer Nico Muhly, and the United States premiere of a string orchestra piece by Radiohead guitarist Jonny Greenwood. In many cases the events happen at unusual venues, such as churches, that are totally alien to the participants from the popular music realm.

•    The International Contemporary Ensemble has pioneered a remarkable hybrid structure that combines elements of performance group, presenter, and producer across multiple venues and even cities. More centralized than the grassroots chapter network of Classical Revolution, ICE is ostensibly based in Chicago and New York, but its network of ensemble members is spread out across the country. Founder Claire Chase, as well as many of the musicians, graduated from Oberlin Conservatory. Read the rest of this entry »

Popularity: 12%

Ian David Moss

(This three-part post is the first of a series on emerging trends and notable lessons from the field, as reported by members of the Americans for the Arts Emerging Leaders Council.)

For Judd Greenstein, founder of New Amsterdam Records, explorations across genre aren’t just about bringing popular music into a classical context.

Greenstein and his NewAm co-directors, Sara Kirkland Snider and William Brittelle, have classical pedigree a-plenty—they’ve done time at the graduate music programs of Yale, Princeton, and CUNY—but see their work as part of a mission to launch the music that they and their colleagues write into the same stratosphere with other forms of indie music.

“One of the points of NewAm is to move around and beyond the historicism of the classical community and the self-reflection that pervades it,” Greenstein says. He points to the label’s appearance on top-10 lists and charts from multiple musical worlds (such as the NPR and New York Times Classical lists, the iTunes jazz chart, and the College Music Journal 200) as evidence of its success at positioning music that comes (at least in part) from the classical tradition as something that people who don’t think of themselves as classical lovers can enjoy.

Read the rest of this entry »

Popularity: 9%

Ian David Moss

(This three-part post is the first of a series on emerging trends and notable lessons from the field, as reported by members of the Americans for the Arts Emerging Leaders Council.)

In the past half century, there are some things that haven’t much changed in classical music. Big, well-established orchestras (several high-profile recession-induced bankruptcies and closures notwithstanding) continue to attract the lion’s share of dollars from funders, individual donors, and ticket-buying patrons alike. Prestigious conservatories such as Juilliard and Curtis continue to pump out soloists who are snapped up by artist management companies and shopped to those same orchestras, increasingly hungry for top talent. In the background, however, the rest of the classical music field is rapidly evolving in new directions.

Despite a long-term general stagnation in ticket-buying classical music audiences, more and more young people are taking a shine to the 400-year-old art form and wanting, nay, expecting to make a career out of it. Americans for the Arts’s National Arts Index reports a 61% increase in the number of visual and performing arts degrees awarded between 1998 and 2009, far outpacing population growth during that period.

Empowered and ambitious, this new crop of conservatory graduates has emerged professionally during a time of extraordinary operational and technological change in the field. In just one generation, the young classical musicians of today have seen public funding for the arts drop precipitously in real terms; the democratization of music production and distribution through technologies such as notation software, ProTools, digital file-sharing, and Kickstarter; and the decimation of arts education programs across the country. Read the rest of this entry »

Popularity: 11%

Four Americans for the Arts Advisory Councils — the Arts Education Council, Emerging Leader Council, Private Sector Council, and the Public Art Network Council — are currently seeking nominations for new council members to serve three-year terms from January 1, 2012 through December 30, 2014.

Americans for the Arts asks, first and foremost, that the councils advise our staff on programs and services that will build a deeper connection to the field and their network members.

This gives council members the opportunity to be spotlighted as national leaders and to give back to the field by connecting the national work of Americans for the Arts to the local level.

Here are quotes from current leadership council members on the value of serving in that role:

“Having people from across the country serve on the council gives Americans for the Arts insight into the unique challenges we face on a day-to-day basis. It helps connect ELs at a very grassroots level by connecting networks and creates a web of resources and support for ELs.” – Ruby Harper, Emerging Leader Council Read the rest of this entry »

Popularity: 16%

With October right around the corner, we all have the opportunity to commemorate the arts in a big way by participating in National Arts and Humanities Month (NAHM) – the largest annual celebration for the arts and humanities in the nation.

Designed to encourage all Americans to explore new facets of the arts and humanities in their lives, and to begin a lifelong habit of active participation in the arts and humanities, National Arts and Humanities Month is a coast-to-coast collective recognition of the importance of culture in America.

Once again this year, Americans for the Arts is hosting its annual Creative Conversations program in conjunction with NAHM.

The program, started in 2004 in response to feedback from the Emerging Leaders Council, has grown to serve over 50 communities and more than 2,000 individuals each year. Read the rest of this entry »

Popularity: 6%

John Abodeely

A friend and colleague—one on the earlier end of her career—recently emailed me and asked what she thought of her possibly moving back to the east coast and entering a graduate program in the hope of advancing her career more quickly.

This is what I wrote her. Because her question is about career development, I have given myself permission to publish it below:

I think there are two things to keep in mind:

1. There isn’t actually a wrong choice. One way or the other, things work out; you’ll find a way to enjoy yourself; the important things tend to settle out the way they will: friends, family, fun, relationships of other kinds. You can pick a path—and it’s important you do—but a path is nothing but a series of choices. Just make sure you choose—don’t sit around too much—and you’ll have good experiences, meet people, see things, etc.

The only time this doesn’t hold is if you’re hell-bent on some outcome: being famous, being a museum educator, etc. In these cases, you can generally mix together the things you must do (like lots of acting jobs, plastic surgery, etc.; a degree in museum education, lots of internships, etc.) with a few rule breaking successes (going indie a couple times to build your acting rep; moving to a small town museum in rural America to be director of education because, while it’s not glamorous, it’ll rapidly advance your career). Read the rest of this entry »

Popularity: 17%

Maya Kumazawa

Having completed my internship at Americans for the Arts, I’m excited to take back what I’ve learned to my local community in Western Massachusetts.

Over 10 weeks, I worked on a wide range of projects that involved public art, local arts agencies, and emerging leaders. One topic, community engagement, is something I can be a direct advocate for even after the summer is over.

Through Net Impact’s Board Fellow program, I’ve served on Youth Action Coalition’s Board for the last year. The Arts for Change program at the Youth Action Coalition pairs intensive arts immersion with social justice education for youth. This program is free to any youth in the community interested in creating a change in the area through high quality arts programming.

How can the arts actually be used for social justice education and youth empowerment? YAC’s four primary programs engage different audiences through various media: Read the rest of this entry »

Popularity: 11%

Since Americans for the Arts started the Creative Conversations program in 2004, in response to the feedback and initiative of the Emerging Leaders Council, the program has grown to serve over 50 communities and about 2000 individuals each year. Through Creative Conversations, we have witnessed the creation of strong local emerging leaders networks that still exist today, observed communities start a cultural or strategic planning process, and helped unify groups of people engaged in arts and culture to help spark dialogue, spur advocacy efforts, and create networking opportunities.

While the Creative Conversations program was initially created by and for the Emerging Leaders Network, we have seen and welcomed interest in the program from other networks and individuals as well. Having the structure of a national movement connected to a community’s grassroots initiatives can provide a framework and timeline for enacting a new project or bringing different groups of people together around a single issue.

This year, we are officially expanding the Creative Conversations program to invite and encourage individuals, organizations, and networks of all types to host an event, and engage their community around a cultural topic or issue that is of importance to them locally. You can view ideas for previous Creative Conversations here. Read the rest of this entry »

Popularity: 21%

Ian David Moss

In the spirit of the recent conversation on ArtsBlog, Emerging Ideas: Seeking and Celebrating the Spark of Innovation, I thought it would be interesting to talk to a curator about how he makes room for the unfamiliar in his work.

Douglas Laustsen is a music educator and trombonist based in New Jersey who runs a radio program called “Endless Possibilities” on WRSU, Rutgers University’s college radio station. We decided to continue a discussion we began on Twitter a few months ago about curatorship and new music.

Our discussion was published in two parts here on ARTSblog:

You mentioned that the recordings people send you tend to be more polished than you expected. On the one hand, that perhaps makes for a better listening experience, but on the other, it perhaps gets away a little bit from the original vision for Explorations. How do you negotiate that tension in your curation process?

It is interesting, to me at least, that I’ve had to be more concerned with creating a ceiling for the segment than a floor. Luckily, I have space during the rest of my show to feature music I don’t find appropriate for Explorations, and I have played submissions outside of Explorations as a way to promote a piece and maintain the spirit of the segment. Clearly there is a lot gray area in making this determination, but over time my familiarity with the new music world has made this judgement a lot easier. Read the rest of this entry »

Popularity: 13%

Ian David Moss

In the spirit of the recent conversation on ArtsBlog, Emerging Ideas: Seeking and Celebrating the Spark of Innovation, I thought it would be interesting to talk to a curator about how he makes room for the unfamiliar in his work.

Douglas Laustsen is a music educator and trombonist based in New Jersey who runs a radio program called “Endless Possibilities” on WRSU, Rutgers University’s college radio station. We decided to continue a discussion we began on Twitter a few months ago about curatorship and new music.

Our discussion will be published in two parts here on ARTSblog:

Tell us a little bit about your radio show – what is it? How did it come to be, and how did you get involved?

“Endless Possibilities” is a weekly radio program I have hosted since 2008 on WRSU, the college radio station of Rutgers University. I began hosting shows on WRSU in 2005 with a wildly free form show called ‘Trivial Pursuits.”

My initial motivation was to interact with music in a very non-academic way because I was beginning to feel some conservatory burn out. As fun as it was to segue Pierrot Lunaire into London Calling into Hauschka, I eventually limited the format of my show and renamed it “Endless Possibilities.” While I don’t restrict myself from playing any specific genres, the core of each show is decidedly contemporary art music. Read the rest of this entry »

Popularity: 15%

Christina Wolfgram

A choka is a type of Japanese poem that is cousin to the haiku, using some of the same syllable restrictions.

Because of its short verses, the choka is easy to turn into a group poem. One person writes the first verse (with the syllable count of 5-7-5) and then each person after that writes two lines, the first with seven syllables, the second with five syllables. There is no limit to how long a choka can be – they can go on forever!

This summer, I’ve had an awesome experience interning with Americans for the Arts. At first, I was surprised at how dire the arts’ situation is – I felt ashamed that I had spent so many years in school growing with arts at hand and never taking the time to appreciate it.

I was inspired by the passion and dedication shown by those who spend every day working for arts advocacy.

So, I’ve decided to start a choka about the arts (who doesn’t love art about art, right?), and hope that you will take a minute out of your day to add a verse to it. Read the rest of this entry »

Popularity: 9%

Stephanie Evans Hanson

Innovation happens at the local level. Despite budget cuts and debt ceiling debates that currently seem to take over our news media, we have seen strong examples of impactful innovation in our field through the projects profiled this week on ARTSBlog. I use the term “impactful innovation” because if a great project or idea is created and doesn’t have impact, what was the point? Ryan Hurley gives a great example of an innovation that may not have resulted in lasting impact or change.

This week we have learned about innovative fundraising strategies that leveraged more dollars for youth in an underserved community, a theater experience that is engaging communities in a new way, and a dance company that serves not only the community at large, but builds the career capacity of the dancers and choreographers themselves.

We’ve also discussed some of the challenges in finding the resources to support innovative work, learned about a local arts agency that is partnering with the healthcare industry to serve a wider community, and we’ve got proof that innovation doesn’t just happen in big cities on the coasts. We also celebrated the curators of our field whose job it is to seek out innovative ideas and develop strategies for supporting them. Read the rest of this entry »

Popularity: 15%

Ebony McKinney

“We are witnessing new practices and challenges to old assumptions.” ~ Ben Cameron during the closing keynote at this year’s Americans for the Arts Annual Convention.

A sector transformation is underway. Today’s arts administrators, activists, and cultural entrepreneurs are fashioning new routes to mission fulfillment, while contending with diminishing grant funds, demographic and technological shifts, and audience erosion. The relevance of institutions is being challenged as much of the sector experiments with new opportunities for practice and participation. The expanding definition of ‘the who, how, and where’ is evident.

The role of enterprise in this shift is of great interest to me. This fall I’ll begin a graduate program focused on how to create the infrastructure and environment needed for cultural and creative enterprise to flourish. I know for some arts and enterprise are conflicting ideas – enterprise represents the commercial, the shallow, the crude and calculated manipulation and manufacture of cultural, creative, or artistic product, but I think that enterprise can encourage resilience, flexibility, and empowerment inside and outside of institutions. Read the rest of this entry »

Popularity: 15%

Art Really Can Change Your Life! from The Pink Line Project on Vimeo.

“For one week, artist Agnes Bolt moved into the home of the very sociable and curious Philippa Hughes to playfully explore the dynamics between an artist and an art collector. With a naive optimism and subtle social critique the project manifested itself with a large obtrusive structure situated within Philippa’s home in which the artist lived.

The presence of the artist was impossible to ignore. A series of rules, exercises, communication systems, and bonding experiences dictated the interactions between the two and video cameras were given to both parties. Both were required to follow the rules but mischief and expectations of an open spirited dynamic was highly encouraged. Read the rest of this entry »

Popularity: 16%

Angela Harris

Prior to starting my company, I worked at a couple of places, which will remain nameless, where leadership meant ruling the company through one set of eyes.

On one occasion, I was told by the board president that I couldn’t come to meetings because of my youth and (assumed) inexperience. There was another time where I was reprimanded by a boss for suggesting alternative ways to market, because she thought I was putting her ways down.

I have always said that I am thankful for all of my work experiences, especially the dysfunctional ones, because I have learned exactly what NOT to do. Now, leading my own company, I often take the time to reflect on my past experiences, and this week, I had the chance to observe 20 incredibly talented youth demonstrate the power that creativity has on transforming and developing leadership capabilities.

As a leader, sometimes being part of the team is just as important as delegating. Building up other members of the team to feel confident in their leadership abilities should enhance the company, not serve as grounds for a power struggle. Working as a cohesive unit sometimes requires leaving your tenure at the door, and being open to hearing, learning, and communicating with everyone in your organization, without letting your status trump that of someone younger or less experienced. Read the rest of this entry »

Popularity: 17%