Government hopes $20 Vale Cultura voucher will encourage poorest Brazilians to sample wider range of cultural pursuits.
Andrew Downie for the Washington Post, Guardian Weekly, 21 February 2014
Like millions of other Sao Paulo residents, Telma Rodrigues spends a large part of her day going to and from work. She hates the commute, and not just because public transport is packed, slow and inefficient. She finds it boring.
Now there is light at the end of the tunnel. As of last month, the Brazilian government is giving people such as Rodrigues a "cultural coupon" worth $20 a month - enough, the 26-year-old said, to buy a book to enliven her daily ride. The money, loaded on a magnetic card, is designated for purposes broadly termed cultural - though that could include dance lessons and visits to the circus in addition to books and movie tickets. In a country still battling high levels of poverty, the initiative has won widespread praise as a worthy and yet relatively cheap project. But it has still provoked questions. Is it the state's job to fund culture? How will poor Brazilians use the money? How do you, or even should you, convince people their money will be better spent on Jules Verne rather than Justin Bieber?
"What we'd really like is that they try new things," culture minister Marta Suplicy said in a telephone interview. "We want people to go to the theatre they wanted to go to, to the museum they wanted to go to, to buy the book they wanted to read."
THE ARTFUL MANAGER
January 31, 2014 by Andrew Taylor on the business of arts and culture
Last week I had the pleasure of keynoting the CAPACOA conference in Toronto – a charming bundle of Canadian performing arts presenters, managers, artists, and related professionals. The topic, as assigned, was curiosity. Which led me to wonder a few things: what is curiosity, how does it work, and what might a cultural manager do differently if he or she knew some answers to question one and two?
The Oxford English Dictionary offers two current subjective uses of the word (ignoring for now the objective). One positive: “The desire or inclination to know or learn about anything, esp. what is novel or strange; a feeling of interest leading one to inquire about anything.” One decidedly sinister: “The disposition to inquire too minutely into anything; undue or inquisitive desire to know or learn.”
So, curiosity can drive us to learn more about our world and its inhabitants, sometimes things it’s not our business to know. We all want our audiences and communities to be more curious, particularly about our work and the things we care about. But we don’t want the fickle and salacious curiosity that would draw them quickly elsewhere.
For our conversation, I adopted and adapted a definition from behavioral psychology (specifically from Carnegie Mellon’s George Loewenstein):
Curiosity is the hunger that arises when attention becomes focused on a gap in what you know.
The frame offers several useful insights:
By Alex Temple on January 16, 2014
Composers spend an awful lot of time worrying about whether or not what we do is culturally relevant. Many discussions start from the assumption that it’s not; the only question is how we’re going to makeourselves relevant before our art form shrivels away like a neglected houseplant.
Whenever I hear words like “relevant” or “important,” I always want to ask, “relevant or important to whom?” When that detail is left out, these words become codes or shorthands: “important” means “important to Serious Art People,” and “relevant” means “relevant to Real-World Audiences.” But “Real-World Audiences” is a code too, because the people who use the phrase seem to have a pretty narrow idea of who counts as real. Other musicians? Not real. Artists in other media? Not real. College students and faculty? Not real. People over 40? Not real. You can sell out a huge concert hall, but if everyone there falls into one or more of the above categories, you’ll still have people citing your show as evidence of classical music’s imminent demise. Because when people say “culturally relevant,” what they really mean is “relevant to young people with mainstream tastes.” And “mainstream tastes,” unfortunately, doesn’t include classical music.
No other form of experimental music-making holds itself to this kind of standard. Japanese noise artists, for example, don’t seem to worry about whether or not their enthusiastic but small audience is a “real-world” one, and I’ve never heard anyone say that in order for them to justify what they’re doing, they have to appeal to people who aren’t interested in what they’re doing. “Why should non-mainstream music reach out to wider audiences?” asked Masami Akita in a recent interview. “These days, everything is diversified and it’s OK to have many different non-mainstream musics for non-mainstream music lovers.”
PRESENTATION HOUSE THEATRE, North Vancouver
The 2013/14 ARTS PASS is now available!
It’s a great opportunity to experience something new and it’s just $120 a pass!
Your ARTS PASS is good for 12 tickets to Presentation House Theatre:
TO REDEEM Call the Box Office at 604 990 3474 to book your tickets. When you pick up your tickets at the box office please present your ARTS PASS to be validated.
MEMBERSHIP Purchasing an ARTS PASS also includes membership to Presentation House Theatre.
EXPIRY Your ARTS PASS expires September 1, 2014.
The Huffington Post | By Michelle Manetti
Many abandoned homes are left to the elements, allowing nature to handle the demolition. But when artist Matthew Mazzotta came across an abandoned house in York, Alabama, he and his team decided to turn it into a foldable public theater called "Open House."
According to Inhabitat, with the materials and land from the old home, Mazzotta created a place that looks like a normal house, but can be unfolded to reveal a 100-seat space where the community can watch plays, movies and live musical performances.
It takes about an hour and a half to transform but as you can see if the video, found at this link, it's totally worth.
by Michael Nabarro, Aug. 9, 2013, Guardian Professional
The arts have to compete with retail, leisure and travel for customer attention – better use of tech can help them stand out.
It's no secret that theatres are facing tough times, with increased funding pressures from central and local governments. What it means is that they need to make their case for public support, while at the same time diversifying their income streams.
Technology has been a big part of audience engagement and development for many years. The first computerised box office systems arrived as early as the 1980s, opening up opportunities for informed direct marketing and customer analysis, and over the last few decades these systems have grown in capability and functionality.
But we now need a step change in the way we use technology if the box office is to engage a wider audience that is increasingly digital and – to borrow a phrase from media circles – always switched on. This technology is, in my view, absolutely critical in transforming the way that theatres engage with their audiences and meet the challenges facing them.
Rick Lester | June 27, 2013
What in the heck do the words "audience engagement” mean?
I recently attended the Theatre Communication Group (TCG) Annual Conference in Dallas, where a major focus of discussion was that very topic. For three days, I listened to panelists, questioned participants, and considered the discussions. I met many bright managers who passionately explained how they are trying to bridge the perceived gap separating potential audiences from their theater companies. I regret to report that no one could offer a concrete definition of the term “audience engagement”.
It seems to me that two separate meanings and means of measuring success are intertwined in the use of the term:
Los Angeles Times, By David Ng June 10, 2013
Plays are routinely adapted for the movies and television. But a YouTube adaptation of a stage drama is something new.
In a small theater on the campus of East Los Angeles College, actor Christopher Gorham was performing a scene from the David Henry Hwang play "Yellow Face" over and over again as a camera crew went through several set-ups of the dialogue-heavy sequence.
It was near the end of a three-week shoot that took place in late December. Gorham, who was on hiatus from the USA Network series "Covert Affairs," was playing the part of Marcus, a white actor who is mistakenly cast as an Asian character in the play-within-the-play. Sitting next to him in the scene was actor Ryun Yu, playing the role of a playwright suggestively named "DHH."
The action was being shot on the theater's mostly bare stage, with scenery to be added digitally in post-production. With each take, Gorham went through a series of perplexed expressions as his character tried to go along with the playwright's insistence that Marcus -- all appearances to the contrary -- is of Asian descent.
Connecting the Dots of Nonprofit Engagement Data: A Closer Look at Practices, Challenges and Opportunities
Nonprofit Technology Network by Annaliese
Nonprofit organizations are looking beyond traditional data toward information about constituent participation and engagement. Such data might include volunteer activity, e-newsletter activity, Facebook or Twitter mentions, online petitions or pledge activities, event attendance and interaction among constituents, to name only a few.NTEN and Avectra sought input from 10 nonprofits and associations that vary in size and work across many programmatic areas for specific examples of how they are collecting, managing and sharing engagement data -- and how it impacts their work.
We’ve compiled their responses around seven key questions, and are sharing the findings, and their stories, below.
I. What types of engagement data are nonprofits collecting and, more importantly, why?
The organizations that provided input collect a broad range of engagement data, such as but not limited to:
The League of American Orchestras' (The League) Rebecca Vierhaus told us her organization is "trying to find trends to tie participation to revenue, as well as participation to likelihood of renewing membership or donating….We have always imagined a 'learning journey' for our members -- becoming more and more engaged over time and eventually becoming donors or supporters in other ways. Is this how our members actually engage with us and, if not, what should our strategy be to try and keep them on a 'conveyor belt' towards loyalty and engagement?"
Shoes That Fit's Thomas Pellegrino said his organization uses the data to "communicate our mission and message and develop our communication strategies." Read more
by: Matthew Westwood
From: The Australian
May 07, 2013
ARTS centres used to be remote and slightly forbidding places: getting to them involved undertaking a pilgrimage or at least a change of perspective. It may have meant crossing a river (how many arts centres are on a city's far embankment?) or ascending a hill or podium, as at the Sydney Opera House. On Melbourne's St Kilda Road, the cultural tourist undertakes an obstacle course that sounds dauntingly medieval. A moat and water wall confront the visitor at the National Gallery of Victoria, while entry to the Arts Centre auditoriums involves a descent to the underworld. Right or wrong, the architectural narrative of these places is one of the visitor earning their entry to a special or even sacred zone.
These days, the story is changing. Arts centres - multi-venue complexes that may include a lyric theatre, concert hall, playhouse and a black-box studio - want to throw open the doors, put themselves at the centre of community life, and no longer be regarded by the populace with deference, cringe or fear. Read more
Canopy Arts Desk
Tammy Hampel (Isaacson)
News and information about Arts and Culture, Arts Administration, Communications, Development and Non-profit Management