| The Future of Diversity and Equity in Museums | 42576 | GP0|#a2eb43fb-abab-4f1c-ae41-72fd1022ddb0;L0|#0a2eb43fb-abab-4f1c-ae41-72fd1022ddb0|The Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>What does a commitment to diversity, equity, accessibility and inclusion look like for a fine arts museum, a children’s museum or a historical society? What about zoos and aquariums? <br></p><p>The American Alliance of Museums, which provides resources and guidance for each of these types of organizations and more, is now embedding DEAI as an integral part of museum excellence. Its <a href="https://www.nytimes.com/2022/10/13/arts/design/american-alliance-of-museums-diversity-equity-inclusion.html" target="_blank">new initiative</a> will update its accreditation and the standards it sets for professional practices for member organizations.</p><p>In addition to DEAI, AAM’s Core Standards for Museums include guidelines on risk management, financial stability, public trust, collections stewardship, and planning. This is the first time in 20 years that the organization has updated its standards. Once finalized, the new standards will become required of the 1,096 accredited member museums and considered professional practice for the remaining 35,000 individual members. The multi-year process will be led by an advisory committee of six to eight people from the industry through conversations with professionals from across the field, including those often underrepresented in the establishment of museum standards, such as emerging museum professionals, Chief Diversity Officers, and museum professionals of color. </p><p>We spoke to <a href="https://www.aam-us.org/programs/about-aam/our-staff/" target="_blank">Laura Lott</a>, CEO and President of AAM, to discuss the state of DEAI work at museums, the impetus for this initiative, and what they anticipate the implementation process will look like. </p><p><strong>Wallace Foundation: What prompted the organization’s decision to start this initiative and the process of updating AAM’s standards to reflect diversity, equity, and inclusion concerns?</strong> </p><p>Laura Lott: This really started back in 2016 when diversity, equity, accessibility, and inclusion in all aspects of museum structure and programming was prioritized in our strategic plan as one of three focus areas for AAM. That came out of dozens of conversations with thousands of museum directors and professionals across the sector who told us that DEAI was a top concern for them, along with financial sustainability and how they were positioned in communities related to the education system. </p><p>One of the first things that we did was develop a DEAI working group made up of people who had been doing DEAI work in the field, some for decades. Generally, the consensus was that they hadn't seen as much change as they'd hoped. And so the working group was charged with asking the question: Why? </p><p>That group issued <a href="https://www.aam-us.org/wp-content/uploads/2018/04/AAM-DEAI-Working-Group-Full-Report-2018.pdf" target="_blank">a report</a> in 2018, which identified and examined five ways that DEAI work hadn't stuck or made as much change in museums as hoped. One of those five insights was the value of systemic change. Oftentimes we found that DEAI initiatives were focused externally; they were about the audience that the museum was reaching or the programming it was doing, but not necessarily the systemic change to its culture, processes, systems, budgets, and values—everything that would really be needed. </p><p>Within that same timeframe, someone said to me, “We really should only be talking about excellence in museums,” rather than topics like DEAI. It was an <em>Aha! </em>moment: we need to make sure that people understand DEAI <em>is </em>museum excellence. Excellence is the term that we use for the whole continuum from when a museum first joins the professional alliance to becoming accredited, and DEAI needed to be part of that system in order to make the sustained change that our field needs and our communities deserve.</p><p><strong>WF: When you look at museums across the country, what are some of the more specific issues that you have been seeing regarding DEAI?</strong></p><p>LL: There are three big things: One is the history and culture of museums, which from the founding of the concept of a museum, has been colonialist and racist. That means it's pretty hard to change because it's at the core of how museums were founded, what they were originally meant to do, and who founded them, too. It's a problematic history.</p><p>The second is resource limitations in the museum field. We know lots of arts and cultural organizations—and nonprofits overall—are always struggling to find new dollars to do new work. DEAI takes resources and a sustained investment of time and money for the expertise that's needed and oftentimes not within a museum already, such as training for existing boards and staffs.</p><p>The third is just the nature of DEAI work. Unlike mounting an exhibit, where there's a very defined beginning, middle, and end, DEAI work is never ending. It's people and culture work, so it's a different way that we have to learn to work. Each person and organization has to do that work—there's no shortcut. </p><p><strong>WF: That said, can you share any examples of strong and effective DEAI initiatives that you've started to see as well? </strong></p><p>LL: First and foremost, some of the most impactful work that results in actual change isn't the big, grand initiatives or something that's announced, launched, done, and celebrated. I think the most impactful work is the thoughtful, steady—sometimes incremental or too slow, it seems, for all of our patience levels—changes happening in museums. </p><p>For example, we've seen in the last year or two a significant increase in the number of Chief Diversity Officer or DEAI leadership positions in museums, which is a huge dedication of resources by museums to find the expertise and have that as a core part of their leadership teams. The Phillips Collection, here in Washington D.C., was one of the first to create a Chief Diversity Officer position, get it endowed so that it doesn't go away, and work with the person in that position—Makeba Clay, at the time—to really make these kinds of changes throughout the institution and to look at how they partnered in a bigger way with the D.C. community, not just a portion of the D.C. community.</p><p>Additionally, the Burke Museum in Seattle is a leader in being in community with their Native populations. When you walk into that museum, there is a <a href="https://www.burkemuseum.org/news/acknowledging-land-building-deeper-relationships" target="_blank">statement right on the wall</a>—that I'm certain was a years-long process and a difficult thing to do—addressing their history and culpability in collecting from and not including the voices of the Native folks that they were interpreting or talking about. They now have a committee as part of their governance structure that is comprised of Native people and it’s part and parcel of how they make decisions now. That's another example of years-long structural change that really has impacted the way that the museum works and collects.</p><p><strong>WF: Can you talk about what the process of updating the standards will look like? </strong></p><p>LL: It's a consensus-building process that started with the “Excellence in DEAI” task force, part of our “Facing Change” initiative, that issued a <a href="https://www.aam-us.org/2022/08/02/excellence-in-deai-report/" target="_blank">report</a> a couple of months ago. That task force was charged with examining what excellence in DEAI looks like and the indicators of a museum really progressing through a DEAI journey. I'm so grateful to that committee, which began their work in 2019, so it was not a short or easy process, especially during pandemic times, to define specific core concepts and key indicators that can be built into the new standards and the application of the standards. </p><p>After the new year, we'll appoint a steering committee of Chief Diversity Officers, museum leaders, and AAM volunteer leadership. I expect some of the biggest changes to be not necessarily in the language of the standards, though there will be some, but in how they're applied and evaluated by the accreditation commission and peer reviewers. It's a little bit behind the scenes, but it will change a lot about what we actually ask museums to tell us in their self-studies—what the peer reviewers look for, and what they observe when they're doing their visits. Our goal is to nurture excellence, so part of our job is providing the case studies, resources, and training on how to actually implement the standards. </p><p><strong>WF: With your member organizations spanning different sizes, areas of focus, and audience bases, how do you account for the variety of programs and approaches museums might take in this work?</strong> </p><p>LL: It's definitely not one size fits all—certainly not with DEAI—but it isn't really with anything that's in the standards. It's such a broad field, and it's why the standards, if you look at them now, are a little vague. They have to be adaptable to zoos, children's museums, big institutions, and very old institutions, as well as ones that are brand new. That's why a lot of the changes that I feel will be most important through this process will be in how the standards are applied and how they're evaluated because we can't expect to see the same thing and call it progress or excellence in each institution's case. </p><p>For example, one of the core concepts is about DEAI demanding an ongoing commitment of resources, and one of the indicators of this commitment is that an organization has allocated a budget for the work. Then the question becomes how much is enough? And that's obviously going to be a very different answer depending on the type of institution and where it is. It probably won't be in the standards that museums need to dedicate a certain percent of their budget, but in the self-study, how we frame this indicator and how it's evaluated by the peer reviewers and the accreditation commission will be where that definition comes in. It's never easy for our field, but that's where this idea of even having core concepts and key indicators helps us get more precise about what we’re looking for.</p><p><strong>WF: Finally, what impact do you hope the new standards will have? </strong></p><p>LL: Even just declaring that we're doing this work is a step so that DEAI is understood as part of professional practice for all museums. It's just like collection stewardship and interpretation, which are also practices that are constantly being refined and improved. It's not like we handle collections care now in the same way that we did a hundred years ago—there's new technology, tactics, and learnings. DEAI is very similar in that way, but it needs to be understood as part of best practice, taught as best practice in museum studies programs, and implemented by museums as core functions of the institution and embedded throughout them.</p><p><em>The American Alliance of Museums is a partner with The Wallace Foundation.</em></p> | Wallace editorial team | 79 | | 2023-02-14T05:00:00Z | Your source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts. | | 2/14/2023 3:14:52 PM | The Wallace Foundation / News and Media / Wallace Blog / The Future of Diversity and Equity in Museums For the first time in 20 years, the American Alliance of Museums is updating | 1119 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| How Can Music Organizations Be More Inclusive? | 42455 | GP0|#a2eb43fb-abab-4f1c-ae41-72fd1022ddb0;L0|#0a2eb43fb-abab-4f1c-ae41-72fd1022ddb0|The Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>In a <a href="/knowledge-center/pages/a-place-to-be-heard-a-space-to-feel-held-black-perspectives.aspx">recent study </a>exploring 50 Black Americans’ perceptions of the arts, some participants at the beginning of their interview shared that they did not consider themselves creative. But as their conversation with the researchers continued, the participants discovered the many ways that creativity and art exist within their lives.<br></p><p>“That’s kind of the beauty of using different types of methods. With the quantitative research, you are able to look at the frequency of different experiences or different types of things people are thinking,” said Melody Buyukozer Dawkins, one of the researchers who authored the study. “But with qualitative research you’re able to bring out those stories and you can have that kind of one-to-one interaction with people.”</p><p>Buyukozer Dawkins was speaking on an episode of “CMA Talks,” a podcast hosted by Nichole L. Knight at Chamber Music America. </p><p>In the conversation, Buyukozer Dawkins highlights several insights that came out of the project’s free-flowing interviews with people whose perspectives have often been underrepresented in research and the arts. She also tackles how arts organizations might develop stronger relationships with their Black constituents and the importance of helping to lift up voices that have been historically sidelined. </p><p>Listen to the full episode on
<a href="https://podcasts.apple.com/us/podcast/cma-talks-season-3-episode-2-close-listening/id1373815844?i=1000570620285" target="_blank">Apple Podcasts</a> and read CMA’s article, “<a href="https://www.chambermusicamerica.org/close-listening" target="_blank">Close Listening</a>,” about the report from the spring issue of
<em>Chamber Music America</em> Magazine. You can find the report
<a href="/knowledge-center/pages/a-place-to-be-heard-a-space-to-feel-held-black-perspectives.aspx">
<em>A Place to Be Heard, A Space to Feel Held: Perspectives on Creativity, Trustworthiness, Welcome, and Well-Being</em></a> on Wallace’s website. </p><p><em>Top photo by Deb Fong</em><br><br></p> | Wallace editorial team | 79 | | 2022-08-18T04:00:00Z | Popular podcast for chamber musicians explores equity, access and research in the arts | | 10/7/2022 2:24:25 PM | The Wallace Foundation / News and Media / Wallace Blog / How Can Music Organizations Be More Inclusive Popular podcast for chamber musicians explores equity, access and research in | 1536 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| How Can Arts and Culture Organizations Be More Welcoming? | 42453 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>What kinds of arts experiences foster feelings of connection and well-being? A new report reveals some insights from Black and African American participants, a viewpoint historically sidelined from research and planning efforts in the arts. In-depth interviews with 50 Black and African American participants revealed common threads that demonstrate the importance of four key practices for arts and culture organizations in creating a positive environment: celebrating personal and community creativity, supporting self-care, working to be more trustworthy and creating a sense of welcome and belonging.<br></p><p>The qualitative study,
<a href="/knowledge-center/pages/a-place-to-be-heard-a-space-to-feel-held-black-perspectives.aspx?utm_source=The+Wallace+Foundation&utm_campaign=bfe7509f3a-EMAIL_CAMPAIGN_2022_01_07_04_25&utm_medium=email&utm_term=0_59ab24ca7b-bfe7509f3a-211159397&_ga=2.77163926.2027710580.1650894280-1368872614.1650558612">
<em>A Place to Be Heard, A Space to Feel Held: Black Perspectives on Creativity, Trustworthiness, Welcome and Well Being</em></a>, was funded in part by Wallace, with research conducted in 2021. The project is part of a pandemic-era, equity-focused research collaboration with Slover Linett, LaPlaca Cohen and Yancey Consulting called
<a href="https://culturetrack.com/research/transformation/" target="_blank">
<em>Culture + Community in a Time of Transformation: A Special Edition of Culture Track</em></a>. The initial survey research found that people
<a href="/News-and-Media/Blog/pages/what-we-need-from-arts-and-culture-right-now.aspx?_ga=2.77163926.2027710580.1650894280-1368872614.1650558612">crave more racial inclusion and connection</a> from the arts, and a follow-up survey determined that
<a href="/News-and-Media/Blog/pages/as-the-pandemic-shifts-so-does-peoples-thinking-about-arts-and-culture.aspx?_ga=2.77163926.2027710580.1650894280-1368872614.1650558612">people’s attitudes were shifting</a> throughout the pandemic, with the desire for arts organizations to be more community-oriented only growing stronger. The new report homes in on perspectives from Black and African American participants, exploring how organizations can better support Black communities, work to earn their trust and make them feel welcome. </p><p>To examine some of the report’s key takeaways, the Wallace blog connected with the team from Slover Linett who co-authored the study (along with Ciara C. Knight): researcher Melody Buyukozer Dawkins, research coordinator Camila Guerrero and vice president and director of research Tanya Treptow. </p><p>
</p><strong style="color:#555555;font-size:14px;"><img src="/News-and-Media/Blog/PublishingImages/Pages/how-can-arts-and-culture-organizations-be-more-welcoming/Melody_Buyukozer_Dawkins_Slover_Linett_Audience_Research.jpg" alt="Melody_Buyukozer_Dawkins_Slover_Linett_Audience_Research.jpg" class="wf-Image-Left" style="margin:5px;width:160px;height:200px;" /><span></span></strong><div><strong>Wallace Foundation: How did the four themes of creativity, self-care, trustworthiness, and welcome and belonging come into focus during the interviews?</strong></div><div><strong><br></strong></div><div><strong></strong><strong>Melody Buyukozer Dawkins:</strong> Our initial focus on the main themes of creativity, trustworthiness and welcome and belonging came from the first wave of quantitative findings from the
<a href="https://sloverlinett.com/wp-content/uploads/2020/12/Centering-the-Picture-full-report-CCTC-Wave-1-findings.pdf" target="_blank">
<em>Culture + Community: The Role of Race and Ethnicity in cultural engagement in the U.S.</em></a> report. Those findings provided guidance at several levels:</div><p></p><div class="wf-Element-BlueBullet">The findings indicated that Black and African American respondents were less likely to participate in the range of cultural activities included in the survey, even though those that did participate did so at the same frequency as the other racial and ethnic groups. One discussion our team had was whether the list of activities that we included in the survey was comprehensive enough to cover all potential activities Black respondents participated in. To this end, we took an open-ended approach in our interviews and asked participants about the general creative activities they partake in to expand this list.</div><p></p><div class="wf-Element-BlueBullet">Over three quarters of Black and African American respondents desired change in arts and culture organizations and it was particularly important for them to engage with diverse voices and faces, more than any other racial and ethnic groups. About one third also wanted to see friendly approaches to diverse people. To examine in our interviews what dynamics come into play in these processes, we explored welcome and belonging.</div><div class="wf-Element-BlueBullet">Black and African American respondents were also more likely than other groups to want to stay informed with trustworthy sources of information, so building on this finding we aimed to explore the factors that affect the trustworthiness of any organization or person.</div><p>We initially didn’t seek to examine self-care within our interviews but as we spoke to people, this theme emerged organically, especially as people talked about how they have been living through the pandemic era. </p><p>
<strong>WF: Against the backdrop of the larger
<em>Culture + Community</em> study, why was it important to conduct this qualitative study to gain the perspective of Black and African American participants regarding community and culture organizations? What are the benefits and tradeoffs or pitfalls of conducting research that delves deeper into understanding the experience of a particular group? </strong></p><p>
<strong>MBD:</strong> This is a question we heard often throughout both the research and dissemination process. One way we found very helpful to answer this question is to take a system-level approach and ask ourselves why the question of the importance of Black perspectives really exists in the first place. What structures and conditions that historically excluded Black people make this kind of research necessary? And why do we try to assess what there is to gain (or to lose) from this kind of research, rather than focus on how research can shift our paradigms and help us transform? With our research, we intentionally tried to stay away from the impulse to justify, but instead to amplify and celebrate Black voices, stories and wisdom, authentically and unapologetically.   </p><p>
<strong>
<img src="/News-and-Media/Blog/PublishingImages/Pages/how-can-arts-and-culture-organizations-be-more-welcoming/Tanya_Treptow_Slover_Linett_Audience_Research.jpg" alt="Tanya_Treptow_Slover_Linett_Audience_Research.jpg" class="wf-Image-Right" style="margin:5px;width:175px;height:219px;" />Tanya Treptow:</strong> And we felt like a qualitative study could be an important complement to—and a check on—the quantitative components of the
<em>Culture + Community</em> work. In qualitative research, we’re inherently not looking to generalize research findings, but instead to hear people deeply as holistic individuals and to understand the emotional undertones of people’s values, philosophies and actions. In this case, we were able to explore how culture and community experiences and organizations naturally fit into people’s broader lives. </p><p>
<strong>WF: What most surprised or had an impact on you</strong><strong> while working on this study? </strong></p><p>
<strong>
<img src="/News-and-Media/Blog/PublishingImages/Pages/how-can-arts-and-culture-organizations-be-more-welcoming/Camila_Guerrero_Slover_Linett_Audience_Research.jpg" alt="Camila_Guerrero_Slover_Linett_Audience_Research.jpg" class="wf-Image-Left" style="margin:5px;width:179px;height:224px;" />Camila Guerrero</strong>: These were the first qualitative interviews I’d been a part of at Slover Linett and the loose structure of the interview, paired with people’s openness, seemed to create a space for vulnerability. The extent of how vulnerable people were willing to be, to talk about certain experiences they’d gone through was unexpected, because we were strangers and they didn’t owe us their unfiltered emotions, thoughts or experiences. The space we created in these interviews was safe not just for the participants, but also for us, the researchers. The interviews almost felt like a conversation I’d have with a friend even though they were for the purposes of this study. They all started off with “how are you feeling?” and despite our guiding question we still went in whatever direction felt most natural and comfortable. Each conversation brought something personal and eye-opening about the individual. One of many of those moments that still stands out to me is when one participant shared a beautiful moment of connection she had with her late mother through nature. I felt myself tearing up as she described her experience, and although perhaps at first glance it may have seemed unrelated to the themes we focused on in this study, it all circles back somehow. That very personal moment she gave us the privilege of exploring was what ultimately led to her love for photography, just one of the many ways she engaged with art. </p><p>
<strong>TT:</strong> I definitely agree with Camila. I’ve been referring back to our conversations in professional contexts and in my personal life to a much greater degree than in other studies I’ve been a part of. I think it’s because of the open-ended framing of our conversations, where people could share what was most meaningful to themselves. In a lot of social research in the arts and culture realm, research is constrained to a somewhat narrower frame, such as attendance or participation at specific kinds of institutions.  In this case, we didn’t constrain our conversations, yet as in Camila’s example, people naturally still shared stories about the arts and culture in their lives. </p><p>
<strong>WF: Where do you think there are more opportunities for this kind of research and what would be a future priority from your perspective?</strong></p><p>
<strong>MBD:</strong> Shifting paradigms and building community. Thanks to the deep insights of our participants, we were able to examine the distinctions between trust and trustworthiness, and between welcome and belonging; explore the role of creativity and self-care in individual and community well-being; and question what “relevance” really means in the context of cultural experiences. One of the exciting outcomes of our study was that for each of our four thematic areas—creativity, self-care, trustworthiness and welcome—there were revelations that led to potential paradigm-shifting approaches to commonly used terms and concepts when equity and inclusion are talked about. So, one potential future priority for me is to rethink how we approach these concepts and how we ask questions in the first place. </p><p>
<strong>CG:</strong> This study felt more like it was about amplifying voices and perspectives than about serving institutions and organizations. I hope it encourages others to move more in this direction, to be participant-centered. Although much of the focus of this study was to support institutions through our findings, throughout the process we found ourselves thinking about the interview participants as not just the main focus, but the main
<em>audience</em> for our report. During our debriefs as a team it came up time and time again, that we wanted this to be something all the participants could read through and understand, because their insights were what even allowed us to get to this point. This participant-centered approach is something I hope to see more of in studies because without participants we have no research, no findings, no ability to take action.</p><p>
<strong>WF: What implications does this study have for the arts and culture sector more broadly?</strong></p><p>
<strong>MBD:</strong> When we started this process, we were thinking about the audiences for this report. As we went through our conversations and started to identify themes, it became very apparent that the findings and insights went beyond the audiences (cultural practitioners and funders) we initially thought about. So, we shifted our focus to the “culture and community” sector, very broadly defined to include not only cultural sector practitioners and funders but also organizations, activists, policy makers and anybody who connects personally with or connects others around culture and community. Excitingly, we have already started hearing reverberations of our findings for people across a wide variety of fields like higher education, creative placemaking, civic engagement and sociological research on places and participation—many of the areas that have been working to incorporate the arts in comprehensive community development. I think one of the next steps is to capitalize on these reverberations and build community around how these learnings can translate into meaningful change, action and also more questions and research. </p><p>
<strong>TT: </strong>I think there also needs to be a continued reckoning in the arts and culture field in accepting, celebrating and ultimately financially supporting arts and culture organizations and initiatives that support deep extrinsic goals, such as individual and community wellness (getting beyond art for art’s sake). Arts organizations that promote these goals explicitly are sometimes given less prestige than those focused on the quality of their collections alone. And that runs contrary to what we heard from the people we spoke to in this study in how they valued arts, culture and creativity in their lives. </p><p>
<img src="/News-and-Media/Blog/PublishingImages/Pages/how-can-arts-and-culture-organizations-be-more-welcoming/Final_updated_qual_report_diagram_V2_2_A_Place_to_Be_Heard.jpg" alt="Final_updated_qual_report_diagram_V2_2_A_Place_to_Be_Heard.jpg" style="margin:5px;" />
<br>
<br>
</p><p>We didn’t frame conversations around self-care or wellness, but these topics emerged anyways in very central ways. And I think this intersects with how the field should value and support BIPOC-led and BIPOC-centered organizations, which may be more likely to take an ‘arts and…’ approach. We do already see encouraging shifts in the sector, such as with John Falk’s 2021 publication,
<a href="https://www.instituteforlearninginnovation.org/the-value-of-museums-enhancing-societal-well-being/" target="_blank">
<em>The Value of Museums: Enhancing Societal Well-Being</em></a>, but there is so much more to do. I’d love to see continued centering of individual and community-level wellness at conferences, in the framing of funding opportunities and within individual organizational practice. </p><p>
<em>The included chart is excerpted from the study, </em>
<a href="/knowledge-center/pages/a-place-to-be-heard-a-space-to-feel-held-black-perspectives.aspx?utm_source=The+Wallace+Foundation&utm_campaign=bfe7509f3a-EMAIL_CAMPAIGN_2022_01_07_04_25&utm_medium=email&utm_term=0_59ab24ca7b-bfe7509f3a-211159397">
<em>A Place to Be Heard, A Space to Feel Held: Black Perspectives on Creativity, Trustworthiness, Welcome and Well Being</em></a>.</p><br><br><br><br><br> | Wallace editorial team | 79 | | 2022-05-03T04:00:00Z | Authors of new report break down what they learned about arts participation from in-depth interviews with 50 Black Americans | | 5/3/2022 4:13:35 PM | The Wallace Foundation / News and Media / Wallace Blog / How Can Arts and Culture Organizations Be More Welcoming Authors of new report break down what they learned about arts | 2416 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| As the Pandemic Shifts So Does People’s Thinking About Arts and Culture | 23688 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>More than half of Americans say that arts and culture organizations are important to them, according to a new study. The results are part of an ongoing research effort by the companies LaPlaca Cohen and Slover Linett Audience Research, called <em>Culture + Community in a Time of Transformation</em>. </p><p>This <a href="https://culturetrack.com/research/transformation/" target="_blank">second wave of research</a> is based on surveys conducted in May 2021. Along with its companion report, <a href="https://sloverlinett.com/wp-content/uploads/2022/01/Rethinking-Relevance-Rebuilding-Engagement-CCTT-Wave-2-Survey-Full-Report.pdf" target="_blank"><em>Rethinking relevance, rebuilding engagement</em></a>, the survey finds that most Americans believe that arts organizations can play a critical role in helping their communities during this time of continuing change and crises. In fact, a majority of respondents said they wanted arts and culture organizations to actively address social justice issues in their community.  </p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/as-the-pandemic-shifts-so-does-people’s-thinking-about-arts-and-culture/blog-JenBenoitBryan-cropped.jpg" alt="blog-JenBenoitBryan-cropped.jpg" class="wf-Image-Left" style="margin:5px;width:195px;height:226px;" />To help break down some of these findings and their implications, we spoke via email with Jen Benoit-Bryan, Vice President and Co-Director of Research at Slover Linett. You can also see information on the earlier Culture Track work and study <a href="https://culturetrack.com/research/covidstudy/" target="_blank">here</a>. </p><p><strong>Wallace Foundation: What does this study tell us about how Americans might be thinking about the value of the arts? Compared to other research, is there anything new or perhaps surprising about what this survey found? </strong></p><p>Jen Benoit-Bryan: Going into the second wave of this study in early 2021, we anticipated that the personal salience of arts and culture organizations might have declined as people generally hadn’t been as involved in-person with these organizations, and many were grappling with illness and uncertainty in their lives. Instead, we saw a substantial increase in the proportion of Americans who viewed arts and culture organizations as important to them in May 2021 at 56 percent compared with 37 percent who said they were important when reflecting back to before the pandemic. </p><p>We’re not aware of any other national studies that have tracked the importance of the arts across the pandemic, but a study of residents in Washington state found similar patterns. <a href="https://www.artsfund.org/wp-content/uploads/2022/02/ArtsFund_COVID_Cultural_Impact_Study-Spreads.pdf" target="_blank">ArtsFund’</a>s omnibus panel of WA residents conducted in Fall 2021 found that about a third of residents value cultural programming more now than prior to the pandemic, while 55 percent value it about the same and just 14 percent value it less than they did before the pandemic.</p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/as-the-pandemic-shifts-so-does-people’s-thinking-about-arts-and-culture/chart-culture-rising-sentiment-arts-culture-community-p22.jpg" alt="chart-culture-rising-sentiment-arts-culture-community-p22.jpg" style="margin:5px;width:774px;height:436px;" /><br>This can be seen as a point of pride for the sector and as a statistic to cite in advocacy efforts. Of course, the increase could be due to Americans focusing more on their immediate needs during those early months of the pandemic, when the Wave 1 responses were gathered, and now having more room to explore other aspects of life, including culture and the arts. </p><p><strong>WF: While the responses indicate that a majority of Americans want arts and culture organizations to actively address social issues, they place different priorities on specific issues (e.g., racial justice 42 percent, wealth inequality 31 percent and climate justice 31 percent). How should organizations apply these complicated findings in their own contexts? </strong></p><p>JBB: While racial justice was the most-often selected issue that Americans want to see these organizations address, no single issue was selected by a majority of the respondents. That suggests that addressing multiple issues may be important to meeting the needs of many communities. There are some interesting patterns around which issues matter most to whom—for example, racial justice was a priority issue for a majority of Asians/Pacific Islanders and Black/African Americans (65 percent and 59 percent, respectively) and climate change was more likely to be a priority issue among Americans in coastal regions. We recommend that organizations think about what communities they hope to serve in the future (whether defined by geography, race and ethnicity or age, etc.), and then determine which issues to address. </p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/as-the-pandemic-shifts-so-does-people’s-thinking-about-arts-and-culture/chart-culture-community-changes-wish-to-see-p29.jpg" alt="chart-culture-community-changes-wish-to-see-p29.jpg" style="margin:5px;width:774px;height:436px;" /><br><br></p><p>Then there’s the question of what it means for an arts or culture organization to “address” those kinds of issues. We didn’t investigate that in the survey, but there are many examples around the field, and they span the spectrum of internal, programmatic and external or community action. For example, addressing climate change could take place internally (e.g. a recycling program, rainwater reuse, a LEED-certified building expansion, etc.); in programming (a theater production or sound art exhibition on the topic) and/or externally (a partnership with local nonprofit focused on installing solar arrays in new housing developments). </p><p><strong>WF: When considering these findings, it’s important to remember that Americans are not a monolith, as you note throughout the report. Did you find any differences in responses when sorting the population by characteristics other than race, such as geography, income or education level?</strong></p><p>JBB: Absolutely. We focused primarily on the lens of race and ethnicity in this report because we believe that amplifying BIPOC voices is critical to a more inclusive and representative cultural sector, and there are consistent and sizeable differences by race and ethnicity for most of our questions. But at various points in the report, we also highlight geographic, income, disability status and age differences in the responses. A deeper dive into the co-variation of some of these demographics with race and ethnicity would be a fascinating follow-up analysis. That could be particularly valuable for questions where we see clear differences by demographics, such as addressing social issues, perceptions of systemic racism and desires for change in the sector.</p><p>Because this data offers such a wealth of information—more than we can explore even in this rather lengthy new report—we’re making the data sets for both survey waves freely available to researchers and academics for additional analysis. </p><p><strong>WF: The situation in the country changed while the data for the report were being collected and synthesized, from vaccines and new COVID-19 variants to political races across the country focusing on policing, public safety, race and education, and, more recently, escalating global conflict. How should readers of the report account for shifts like this when thinking about the survey data?</strong></p><p>JBB: This is the perpetual problem of doing real, policy-level research as the world continues to change so fast. In a political poll, where the statistical weighting is simple and the analysis is just crosstabs, results can be provided quickly. In deep-dive studies like this, where the weighting to combine the data sources into one national picture took weeks, and the exploratory analysis took months, we knew we’d still be making meaning from responses collected at a fixed time in the past. That’s why we focused many of the survey questions on broad themes that we expect to change slowly—things that aren’t really COVID-dependent, like the role of arts and culture in society, the kinds of change people hope to see across the sector and the value people receive through different kinds of engagement. In contrast, projects like <a href="https://www.audienceoutlookmonitor.com/" target="_blank">WolfBrown’s Audience Outlook Monitor</a> fill the important role of providing more rapid, repeating assessments of more highly variable questions, like how audiences feel about going out again and what will make them feel safe attending in person. </p><p>As with all data, I’d recommend reading our Culture + Community/Culture Track findings with an eye to both your local context and how the world as a whole has been changing since the Wave 2 data collection in May 2021. </p><p><em>This is part one of a two-part blog series focused on recent reports published by Slover Linett as part of </em><a href="https://culturetrack.com/research/transformation/" target="_blank">Culture + Community in a Time of Transformation: A Special Edition of Culture Track</a><em>. The second part, to be published in the coming weeks, will focus on </em><a href="/knowledge-center/pages/a-place-to-be-heard-a-space-to-feel-held-black-perspectives.aspx?_ga=2.210986325.1369777494.1647372834-1352763000.1643649010">A Place to Be Heard; A Space to Feel Held</a><em>, a qualitative study of the perspectives of Black Americans on creativity, trustworthiness, welcome, and well-being. </em><strong> </strong></p><p><em>For more information on this report, or to request the complete data sets for both survey waves, email </em><a href="mailto:CCTT@sloverlinett.com"><em>CCTT@sloverlinett.com</em></a></p><p><em>The included charts are excerpted from the </em><a href="https://s28475.pcdn.co/wp-content/uploads/2021/11/CCTT-Key-Findings-from-Wave-2.pdf" target="_blank">Culture + Community in a Time of Transformation: A Special Edition of Culture Track</a> <em>report.</em></p> | Wallace editorial team | 79 | | 2022-03-17T04:00:00Z | New research reveals Americans' evolving relationships with arts and culture and the changes they wish to see from the sector | | 3/17/2022 6:05:59 PM | The Wallace Foundation / News and Media / Wallace Blog / As the Pandemic Shifts So Does People’s Thinking About Arts and Culture More than half of Americans say that arts and | 1936 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| Helping Arts Workers Navigate Pandemic-Induced Burnout | 42445 | GP0|#a2eb43fb-abab-4f1c-ae41-72fd1022ddb0;L0|#0a2eb43fb-abab-4f1c-ae41-72fd1022ddb0|The Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>The arts—in virtual, masked or socially distanced forms—have been a much-needed salve during the past two years, offering moments of levity, inspiration and even simply a distraction from the pandemic and its stresses. Within the field, however, many arts workers have been facing their own stress and burnout with increased demands on their time and resources and the ever-present concerns about renewed lockdowns, unemployment and other looming uncertainties. Though many employers at the beginning of the initial lockdowns struggled to address these concerns, more and more arts organizations are now focused on providing their employees with tools to help address their mental health needs, especially important as we begin another year colored by the pandemic.<br></p><p>In a
<a href="https://www.aam-us.org/2021/05/05/combating-burnout-in-the-museum-sector/" target="_blank">recent blog post</a>, Elizabeth Merritt, American Alliance of Museums’ (AAM) vice president of strategic foresight and founding director of the Center for the Future of Museums, offered a bit of advice to arts workers from her own experience: “[N]ever be afraid to ask for help. Our work culture, (heck, American culture overall) often stigmatizes vulnerability as weakness. Knowing when you need support, and asking people to play a role in your recovery, isn’t a weakness but a strength.” (Note: AAM is the national service organization for museums and museum professionals.)</p><p>
<strong>Burnout Is Real</strong></p><p>Merritt listed steps both organizations and individuals could take to combat fatigue and hopelessness on the job, even suggesting that staff create an “burnout plan.” Such measures are essential, Merritt says, to adequately support people working at museums, who according to an AAM survey from March 2021, reported to be suffering from many variations of burnout.</p><p>Administered one year after many museums temporarily shut their doors, the
<a href="https://www.aam-us.org/wp-content/uploads/2021/04/Measuring-the-Impact-of-COVID-19-on-People-in-the-Museum-Field-Report.pdf" target="_blank">survey </a>found that a large portion of the nearly 2,700 respondents suffered from mental and financial stress. When AAM fielded the survey, the unemployment rate was six percent,
<a href="https://www.bls.gov/news.release/archives/empsit_04022021.htm" target="_blank">according to the U.S. Bureau of Labor Statistics</a>, which was considerably lower than the rate’s high in April 2020 but still 2.5 percentage points higher than its pre-pandemic level in February 2020. Nearly half of paid museum staff surveyed reported increased workload, and more than 40 percent of respondents reported that they lost income due to the pandemic (on average, over 30 percent of their total income). Further demonstrating this strain, respondents assigned an average rating of 6.6 (on a scale of 0-10 where 10 indicates very strong negative impact) to the impact of the pandemic on their mental health and well-being.</p><p>The survey also underscored that the pandemic had exacerbated existing race and gender inequities in the museum sector, mirroring broader issues in the United States. BIPOC respondents cited higher financial stress and fewer financial resources than white respondents. For instance, 19 percent of BIPOC respondents were more likely to say that they were living paycheck to paycheck, as compared to 12 percent of white respondents. Additionally, women were more likely than men to cite increased workload (50 percent compared to 41 percent respectively) and unfavorable effects on hours, salary, mental health and well-being—relatedly, slightly more of the women than the men respondents (56 percent versus 47 percent)  were more likely to pinpoint burnout as a potential barrier to remaining in the museum sector.</p><p>Similar findings surfaced in
<a href="https://actorsfund.org/about-us/news/actors-fund-survey-finds-deep-hardship-among-those-seeking-assistance" target="_blank">another survey </a>last spring by the Actor’s Fund, a national organization that serves professionals in film, theater, television, music, opera, radio and dance industries.  The survey, which polled nearly 7,200 people, uncovered that 79 percent of respondents reported that the pandemic had a negative impact on their mental health, including increased feelings of anxiety or depression. Adding to their stress and negatively impacting their overall well-being, 76 percent of respondents reported that they lost income, and a little under half claimed reduced food security during the pandemic. Unfortunately, as seen in the museum field, responses from BIPOC participants convey that they were disproportionately impacted by the pandemic—BIPOC-identifying respondents were more likely to experience reduced food security, forced housing change, increased debt and/or having to change utility usage as compared to white respondents.</p><p>
<strong>Prioritizing Health & Wellness</strong></p><p>Both the Actor’s Fund and AAM have created resources to respond to some of the needs that emerged in their surveys. The Actor’s fund has offered workshops including
<a href="https://entertainmentcommunity.org/" target="_blank">national support groups for dancers</a>,
<a href="https://actorsfund.org/workshops/mindfulness-meditation" target="_blank">“Mindfulness Meditation”</a> sessions,
<a href="https://actorsfund.org/workshops/good-grief-support-group" target="_blank">“Good Grief Support Group”</a> and
<a href="https://actorsfund.org/workshops/mind-body-spirit-group-black-women-entertainment-0" target="_blank">“Mind Body Spirit-A Group for Black Women in Entertainment.”</a>  AAM has published a
<a href="https://mailchi.mp/aam-us/impactsurvey" target="_blank">webpage</a> of resources that measures the impact of the pandemic on people in the museum field and includes a list of actions, derived from the survey responses, taken by employers that made respondents feel safe, valued and supported.</p><p>AAM has applied these learnings internally as well, for example, expanding the organization’s acceptable uses of sick leave to include bereavement while creating a new emergency category that allows employees to use sick leave to care for the mental and physical well-being of themselves and their loved ones. Speaking to the significance of their broadened sick leave allowances, Megan Lantz, AAM’s director of content and community engagement, shared:  “As a parent of young kids during COVID, I can tell you the expanded emergency sick leave has already been transformative for me. The leave provision afforded me the bandwidth and margin to take the pressure off myself to try to work and provide childcare 100% of the time, especially during periods where my kids were home for extended stretches of time.”</p><p>In addition to its refreshed leave policies, AAM has encouraged employees to take wellness breaks, ranging from virtual yoga and caregiver check-ins to instituting “meetings-free Mondays” organization-wide.</p>
<p>Other arts service organizations and unions have been responding to the needs of their members as well. The League of American Orchestras, which leads, supports and champions America’s orchestras and the vitality of the music they perform, presented a 90-minute webinar, <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__americanorchestras.org_mental-2Dhealth-2Dwellness-2Da-2Dconversation_&d=DwMFAg&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=HvfsToIiq7JDqOShloB0kc3XGhehQKfQJm0AUg7ze04&m=R4iImW6-WdhkZfeGn5FZw_RKYxrsxYWFsgSTqRVyYa4&s=ggtmL_ZRo5CGA_YTLPT4cDyJzDgzt698zJMFbltmKBc&e=">“Mental Health & Wellness: A Conversation,”</a> where the goal was to normalize conversations about mental health and provide strategies, backed by scientific research, to its members and beyond. In addition to the discussion, the League has posted resources on its website—including links to musician resources, the <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_playlist-3Flist-3DPLgmPuaZL8cu0e8Z-5F3Ycx3v3uNo5JnmG7M&d=DwMFAg&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=HvfsToIiq7JDqOShloB0kc3XGhehQKfQJm0AUg7ze04&m=R4iImW6-WdhkZfeGn5FZw_RKYxrsxYWFsgSTqRVyYa4&s=gad6BucRW1SwKmkoTWZ1kn-u4rA8kQiSe0XgZP-4JB4&e=">LooseLeaf NoteBook podcast series</a> that focuses on nurturing self-care, and a list of free and affordable counseling groups. Along with the ongoing coverage of health and wellness in classical music on the League’s daily news site, <em>The Hub</em>, its magazine, <em>Symphony</em>, published a major <a href="https://americanorchestras.org/restorative-notes/">article </a>reporting how musicians, orchestras and therapists are helping their colleagues with wellness issues during the pandemic.</p><p>OPERA America—a nonprofit organization serving the country’s opera community—also presented a <a href="https://mailchi.mp/operaamerica/taking-care-mental-health-for-opera-professionals-228980?e=97e092a4a4">special</a> <a href="https://mailchi.mp/operaamerica/taking-care-mental-health-for-opera-professionals-228980?e=97e092a4a4">series</a> of mental health webinars where licensed mental health specialists joined opera industry professionals to provide insights, tools and resources for prioritizing mental health. Each of the 45-minute sessions took on a specific topic related to the unique mental health challenges experienced by those working in opera. In the first of these sessions, “<a href="https://www.operaamerica.org/industry-resources/2021/202106/taking-care-mental-health-care-for-creators-and-artists/" target="_blank">Mental Health Care for Creators and Artists</a>,” costume designer Jessica Jahn joined Beth Clayton, a clinical mental health counselor and operatic mezzo-soprano, for a discussion on a question many artists and performers have been grappling with as a result of being un- or under-employed over the past 18 months: How do you maintain a sense of identity and purpose when you cannot practice your profession? For anyone contending with this, Clayton recommends trying to conceive of your identity through your skill set rather than title. For example, she says, “[instead of] ‘opera singer,’ you could say ‘master organizer,’ you could say ‘linguist,’ ‘communicator,’ ‘scheduler.’ You are your own business.” Clayton also notes that this period of being “on pause” might provide an opportunity to work on skills you may not have had time to hone before—or simply to take a break.</p><p>Other organizations, too, have been making mental health a focus. The International Alliance of Theatrical Stage Employees (IATSE), for example, has launched
<a href="https://iatsecares.org/about/" target="_blank">IATSE C.A.R.E.S.</a> (Coronavirus Active Response and Engagement Service), a new initiative designed to provide support to their most at-risk, elderly and/or disabled members during the pandemic. The American Federation of Musicians (AFM) has also been publishing
<a href="https://www.afm.org/what-we-are-doing/covid-19-and-mental-health/" target="_blank">mental health resources</a>, highlighting strategies to help manage and reduce stress.</p><p>Though the pandemic has created innumerable challenges, it has also sparked many vital conversations with the potential to reshape the way that we live and work. Clearly, the focus on mental health will be at the forefront. With this in mind, and with the promise of a new year, we leave you with another sentiment from the always forward-thinking Elizabeth Merritt: “As we all face the uncertainties and anxieties that come with slowly re-engaging with the world, let’s be compassionate towards ourself, our family, and our colleagues, and support each other in doing the work we love.”</p><p>
<em>Full disclosure: American Alliance of Museums, The League of American Orchestras and OPERA America are among Wallace’s arts service organization partners.</em></p> | Wallace editorial team | 79 | | 2022-01-04T05:00:00Z | Member organizations offer up a slew of resources and ideas to support health and wellness for people working in the arts | | 6/20/2022 5:03:16 PM | The Wallace Foundation / News and Media / Wallace Blog / Helping Arts Workers Navigate Pandemic-Induced Burnout Member organizations offer up a slew of resources and ideas to | 2370 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| 10 Things Museums Should Consider as They Take Programs Virtual | 23642 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>In the wake of COVID-19, many museums and other arts organizations have rapidly <a href="/News-and-Media/Blog/pages/engaging-audiences-in-the-age-of-social-distancing.aspx" target="_blank">moved their programming online</a> to help audiences in their community and around the world continue to feel connected. According to David Resnicow, president and cofounder of <a href="https://resnicow.com/" target="_blank">Resnicow and Associates</a>*, a communications agency serving cultural institutions and enterprises, there are additional steps museums should take to thrive in the long-run. </p><p>Resnicow writes in <em>ARTnews</em>: </p><p class="wf-Element-Callout">During the past month, museums across the globe have been faced with suddenly transforming themselves from physical spaces designed to immerse visitors in installations and on-site programs into producers and distributors of online multimedia content. Without any preparation or playbook. Rather than deliver visitors to the museum, museums must now deliver themselves to the visitor.</p><p class="wf-Element-Callout">The medium is the museum.</p><p class="wf-Element-Callout">My firm has spent 28 years working with major museums’ communications offices in crafting the ways they present themselves to the outside world. In this new world, the communications office finds itself playing a leading role, not a supporting one. It constructs the virtual front door to an amorphous venue that simultaneously welcomes visitors and presents programming. Of course, museums have long produced digital content to support their real-world initiatives, but with the digital realm now the lone space available for engaging the community, they are navigating uncharted territory, with vastly differing visitor patterns and audience reach.</p><p>To read the full op-ed, <a href="https://www.artnews.com/art-news/news/museums-online-how-to-survive-1202685967/" target="_blank">click here</a>. </p><p>*Resnicow and Associates works with Wallace staff on many of our arts initiatives. </p> | Wallace editorial team | 79 | | 2020-05-28T04:00:00Z | Op-Ed in ARTNews offers advice for museums approaching the new digital reality | | 8/27/2020 3:10:42 PM | The Wallace Foundation / News and Media / Wallace Blog / 10 Things Museums Should Consider as They Take Programs Virtual Op-Ed in ARTnews offers advice for museums approaching the | 897 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| Ambassadors, Advice and Strategic Discounts Bring Newcomers to Minnesota Opera | 23667 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>
<em>This post is an update on
<a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-someone-who-speaks-their-language.aspx">a 2014 case study</a> of Minnesota Opera’s Wallace-funded efforts to attract new opera fans and supporters. It is one of a series of blog posts exploring how organizations' audience-development efforts fare once Wallace funds run out. It does not include a thorough analysis to determine whether the financial benefits of the efforts described are commensurate to their costs.</em></p><p>Those unfamiliar with opera often assume the art form is for a different kind of person; they may think of someone older, wealthier, with different sensibilities and maybe even a bit pretentious. For the marketing staff at Minnesota Opera, the key to bringing newcomers to the performance hall requires, first and foremost, challenging that assumption. One tack has been to enable trusted opera devotees to act as ambassadors and encourage others to give the art form a try. Assisted by a four-year (2009 to 2012), $750,000 Excellence Award from The Wallace Foundation, the organization successfully enlisted an influencer with a wide following who attracted new ticket buyers. When a medical condition forced that influencer to retire, the staff empowered other groups in its audience base to cultivate new attendees.  </p><h3 class="wf-Element-H3">Tapping Local Partners</h3><p> The company, which produces five operas per year for an audience of nearly 45,000, first experimented with this idea in its 2008–2009 season, with a Bring-a-Friend program. Through that effort, its roughly 3,000 subscribers could receive a free companion ticket to a performance, which they were asked to give to a friend who had never attended Minnesota Opera. Staffers were discouraged when fewer than a fifth of subscribers took advantage of the offer but took heart when half the invited friends later bought tickets themselves. That high return rate got the marketing staff thinking about how to expand the model by tapping into a trusted advocate with greater reach. </p><p>As detailed in a
<a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-someone-who-speaks-their-language.aspx">2014 case study</a>, the company launched a partnership with Ian Punnett, a longtime opera attendee and host of a morning drive-time pop-culture radio show. In show banter and in ads, he told his audience, which was made up mostly of professional women, what they would find enjoyable about specific Minnesota Opera productions. Avoiding esoteric references, he emphasized the drama, spectacle, pageantry and passion on stage. Over the four years of Wallace Foundation funding, more than 1,000 new households redeemed free tickets received in promotions on Punnett's show, in line with the company’s projections. What’s more, 18 percent of these newcomers returned on a paid ticket, well exceeding the 10-percent return rate documented in
<a href="https://www.oliverwyman.com/content/dam/oliver-wyman/global/en/files/community/Pro%20Bono%20Program/Solving%20a%20Classical%20Mystery/OW_EN_PUBL_2008_AUDIENCEGROWTHINITIATIVE%281%29.pdf">a 2008 study of first-time visitors at nine American symphonies</a>.</p><p>
<img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/Traviata2.jpeg.jpg" alt="Traviata2.jpeg.jpg" style="margin:5px;" />
<br>
</p><p>The radio partnership was just one component of the strategy. A local afternoon TV talk show also distributed free tickets to all members of its 50-person studio audience. But the show’s hosts lacked Punnett’s connection to opera and couldn’t speak as compellingly about it. Further, audience members received tickets whether they were interested or not. Few redeemed tickets and the partnership was scrapped in its second year. </p><p>The company also conducted research into audience motivations for buying tickets and, importantly, what prevented first timers who had come through the radio promotion from returning a second time. The research revealed that, although those newcomers may have enjoyed attending the performance, when they were considering a return visit, they didn’t have Punnett to steer them toward another opera. Marketing brochures were designed for traditional audiences, lacked Punnett’s accessible style and had references that newcomers did not fully understand. What’s more, the decision to return not only involved choosing an opera, but also selecting a seat in an unfamiliar hall. Consumer psychologists have long noted that
<a href="https://insight.kellogg.northwestern.edu/article/what-predicts-consumer-choice-overload">too many options can overwhelm unfamiliar consumers</a>, causing them to avoid choosing anything at all. Minnesota Opera’s research suggested that this tendency may be at play among its prospects. They needed help and sometimes a push to identify when and how to return.</p><p>These insights gave rise to multiple marketing strategies to overcome that purchase inertia. One tack was to simplify the decision-making process by creating offers for tickets in a specific seating section, eliminating the need to select where to sit. These promotions typically offered configurations such as “Three tickets for $75,” and produced about 100 new subscribers when they ran in local newspapers. Another approach was an impulse-buy promotion offered at two or three performances each season. First-time subscribers received a discount on a new subscription if they signed up before leaving the performance hall. Approximately 100 new subscribers did so each evening the offer was made available.</p><h3 class="wf-Element-H3">Turning to Existing Ambassadors</h3><p> Severe tinnitus forced Punnett to retire from radio in early 2013, bringing Minnesota Opera's partnership with him to an unexpected end. The company sought a similar partner who shares a love of opera, a large audience and a relatable personality—critical factors that drove the program's success—but was unable to find one. The staff therefore tried to deputize different groups within its audience base. “When a friend recommends going to the opera, it’s very different than being served a marketing message," says Marketing Director Katherine Castille.</p><p>The company still runs its Bring-A-Friend program but has had to pare it back as its popularity has grown. Minnesota Opera has approximately 3,000 subscribers, and an open offer to all of them meant that the company could potentially hand out more than 500 tickets per production. It therefore offers Bring-a-Friend tickets for just one production each year to the approximately 200 subscribers who automatically renew their subscriptions before the next season’s titles are revealed. The approach provides an incentive to auto-renew while also attracting a small number of newcomers to the performance hall. </p><p>Bring-a-Friend<em> Redemptions and Returning Households<br></em></p><p>
<em><img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/bring-a-friend-chart.jpg" alt="bring-a-friend-chart.jpg" style="margin:5px;" /></em><br> </p><p>Beginning in the 2016–2017 season, Minnesota Opera also began offering complimentary 'loyalty tickets' to some subscribers, not just to show appreciation but also to help introduce their friends to the company. The group that receives the offer varies. That way, no one gets used to relying on free tickets and the marketing team can target larger or smaller groups depending on the number of seats available. For one show, free tickets might be offered to weekend subscribers; for another, they could go to new subscribers or those who have subscribed for more than ten years. Unlike Bring-A-Friend, these tickets do not need to be given to someone new to the company, but many are. Some preliminary results (below) show that the program is providing a very low-cost way to bring in new audiences; 183 (25 percent) of the 720 new households that came through the program purchased tickets themselves afterwards. </p><p>
<em>Loyalty Ticket Redemptions and Returning Households<br></em></p><p>
<em><img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/loyalty-ticket-chart.jpg" alt="loyalty-ticket-chart.jpg" style="margin:5px;" /></em><br> </p><p>The staff is aware of the arguments against offering free tickets: They can deflate perceptions of the operas’ value and, if used too liberally, teach people to expect them. For that reason, it distributes loyalty tickets in a highly targeted way. For starters, the company offers at most one free ticket to each patron each year and, to capitalize on patrons’ social connections, asks the recipient to invite a friend. The company typically makes these tickets available only in circumstances where sales are likely to need a lift—e.g., less popular showtimes, hard-to-fill seats, less familiar titles and shows early in the season that don't have much time for advance sales. </p><h3 class="wf-Element-H3">Offers and Messages to Encourage Ticket Purchases</h3><p> Relying on insights from its research with first-time attendees, the company still offers impulse-buy subscriptions following certain performances. It provides a discount of between 30 and 50 percent to single-ticket buyers who opt for these offers. The company targets well-known titles and performances outside of the subscription series, because those evenings are likely to have the most non-subscribers in attendance. Over three nights at the end of a run of
<em>La Traviata</em> in May 2019<em>, </em>the company sold 160 new subscriptions, together worth approximately $25,000. The year prior, it ran the offer at two performances of
<em>Rigoletto, </em>bringing in approximately $14,000 through 90 new subscribers. </p><p>
<img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/Traviata.jpg.jpg" alt="Traviata.jpg.jpg" style="margin:5px;" />
<br>
</p><p>The company also tries to point newcomers in the direction of operas they might like, much as Punnett did on his radio show. The practice began when the staff heard in focus groups that people who had not returned to the opera missed Punnett’s guidance. Staffers initially responded by rewriting season brochures to signal which works were “perfect for an opera newbie” or “perfect for an opera buff.” But they nixed the strategy after one season; staffers became concerned that the phrasing might sound as if they were suggesting “opera smart” or “opera dumb.” </p><p>The need to help newcomers pick an opera was still there, however. “We have to find new ways to help people relate,” says Castille. “The seemingly natural reaction seems to be, ‘It’s not for me,’ and we need to make it more approachable.” </p><p>Now, communications targeting single-ticket buyers, who are more likely to be newer to opera, provide guidance on who should see what opera by including references to similar works and pop-culture. For a recent production of
<em>Marriage of Figaro, </em>for example, audiences were told that it would be perfect for people who like
<em>Downton Abbey, Amadeus </em>and
<em>Cosí Fan Tutte. </em></p><p>In all communications Minnesota Opera also targets misperceptions about opera more directly. The company always promotes the fact that tickets start at $25, as it has done for the past ten years, because people assume opera is expensive. It also shows simultaneous English translation during performances, and has consistently communicated that point in print, TV and radio advertising for more than a decade. Even so, misconceptions have proven to be resistant to change (that’s true for other art forms as well). The company recently completed focus-group research and, Castille says, “Those perceptions are still out there—that opera is super expensive, it’s stuffy, it’s exclusively for much older people, I have to know a different language. The work is never done."</p><p><em>La Traviata, 2019. Photos by Dan Norman courtesy of Minnesota Opera.</em></p>
<strong></strong><p></p> | Bob Harlow | 82 | | 2020-01-21T05:00:00Z | A midwestern company taps its networks and carefully crafts promotions to introduce new audiences to opera. | | 1/29/2020 2:35:54 PM | The Wallace Foundation / News and Media / Wallace Blog / Ambassadors, Advice and Strategic Discounts Bring Newcomers to Minnesota Opera A midwestern company taps its networks and | 2784 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| The Contemporary Jewish Museum Is Now (Also) a Family Destination | 42575 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p><em>This post is an update of a </em><em><a href="/knowledge-center/pages/converting-family-into-fans.aspx">2016 case study</a></em><em> of The Contemporary Jewish Museum’s Wallace-funded efforts to attract larger numbers of families with young children. It is one of a series of blog posts exploring how organizations' audience-development efforts fare once Wallace funds run out. It does not include a thorough analysis to determine whether the financial benefits of the efforts described are commensurate to their costs.</em></p><p>San Francisco’s Contemporary Jewish Museum (The CJM) presents a continuously changing program of exhibitions about Jewish art and culture to a diverse audience, approximately half of which does not identify as Jewish. In 2008, it moved from a 2,500-square-foot, single-gallery exhibition space to a 63,000-square-foot facility with room for multiple exhibitions shown simultaneously. Leaders of The CJM believed the expansion opened up a promising opportunity: to attract more parents visiting with children, who could fill the space with intergenerational conversations and vitality. To that end, the museum set out to engage this audience in large numbers. </p><p>That aspiration brought The CJM into largely unfamiliar territory. The museum had not previously targeted families, who made up about 10 percent of the museum’s 10,000 to 13,000 annual visitors in the two years preceding the move. What’s more, more than half of family visits occurred on just two free days each year during Christmas and Purim. As described in <a href="/knowledge-center/pages/converting-family-into-fans.aspx">a 2016 case study</a>, a four-year Wallace Excellence Award helped change this picture. Between 2008 and 2011, the museum developed programs and partnerships that bring in more than 12,000, sometimes as many as 20,000, family visitors each year. </p><p>Eight years after that grant ended, the museum continues to draw large numbers of families. While The CJM no longer sees the runaway success of the early years, visitor response has been enthusiastic enough to build a stable base of family patrons, even as kids age out of the target audience each year.</p><h3 class="wf-Element-H3">The CJM Builds a Family Audience </h3><p>
The original family initiative included several elements:<u></u></p><ul><li>Exhibitions of work by well-known Jewish authors and illustrators, such as Maurice Sendak (<em>Where the Wild Things Are</em>), and Margret and H.A. Rey (<em>Curious George</em>), designed to appeal both to adults and children;<br><br></li><li>Year-round programs every Sunday, including (1) “Drop-In Artmaking” for parents and children every Sunday and (2) special family programming on the second Sunday of each month during the school year, consisting of a “Preschool Gallery Hour” in the mornings for preschoolers and their families and tours later in the day for families with older children; <br><br></li><li>“ArtPacks,” kits with activities connected to exhibitions on display and available to check out anytime, to help families explore on their own schedules;<br><br></li><li>Free admission to all visitors under age 18;<br><br></li><li>Several family days with special activities;<br><br></li><li>Partnerships with local libraries, including educator-led art-making in public libraries and a “Library Day” where library-card holders were allowed free admission; and <br><br></li><li>Partnerships with a small but diverse group of public schools, which included both classroom instruction and parent/child art-making, with 300 to 400 children and families taking part each year. </li></ul><h3 class="wf-Element-H3">Marquee Exhibitions Bring in Large Audiences </h3><p>
With the opening of the new building, total attendance grew more than tenfold, with considerable variation each year (largely driven by blockbuster exhibitions featuring work by household names such Maurice Sendak and the Reys). Family attendance increased as well, and at a faster clip. As shown in the table below, families visiting with children made up about 10 percent of the visitors in the years leading to the move. In the first years of the initiative, they made up between 13 and 19 percent of general admission visits. Additional programs outside general admission brought in between 1,000 and 3,000 more family visitors each year. </p><p>The exhibitions of well-known children’s book authors were the biggest draw. In the first six years in the new space, families made up a larger proportion of visitors (18 percent) when those exhibits were on view compared to times when they were not (8 percent). Family visitors also made up 15 percent of all attendees on Sundays throughout the year, with especially large numbers visiting on second Sundays. <br>
<u> </u><u> </u></p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-attendance-wallace-funded-years.jpg" alt="CJM-attendance-wallace-funded-years.jpg" style="margin:5px;" /><br></p><h3 class="wf-Element-H3">New Gateways into the Museum</h3><p>
Wallace funding ended at the close of 2011, but according to Fraidy Aber, who is Constance Wolf director of education and civic engagement, the museum remains committed to continuous innovation to build on its success. “Families have changing habits and needs,” she says. So The CJM’s staff continuously experiments with more efficient and effective ways to attract new families and create experiences that bring them back. </p><p>One opportunity came in 2013, when The CJM built on the popularity of an exhibition of the work of author-illustrator Ezra Jack Keats by launching what would become an annual “Ezra Jack Keats Bookmaking Competition.” Children from public schools across the city design and write their own books in a competition juried by a panel of illustrators, curators, librarians and writers. The competition, now in its seventh year, is a less costly alternative to the museum’s previous school-outreach program, in which CJM educators traveled to area schools to lead artmaking sessions.  Activities for the new program are now largely managed by the schools, which submit student-made books to the museum. More than 800 children from 19 public schools participate. The competition culminates with a showcase of the children's books, attended by more than 400 students and their families (visitor surveys show that 45 percent are first-timers). The museum has recently begun a separate program for Jewish schools, hoping to recreate the culminating showcase with the Jewish community. </p><p>The CJM has largely shifted away from presenting exhibitions of children’s book authors and illustrators to focus more on contemporary art, though it still schedules a show every fall with content designed to appeal to both children and adults (including, for example, a 2018 exhibition exploring the work of Rube Goldberg). </p><p>Even so, these exhibits do not bring in the large numbers of family visitors attracted by those earlier exhibitions of authors with household names, and the staff is using other programming to attract new family audiences. For example, in 2016 it broadened the audience for the second-Sunday programming beyond families with preschoolers. The museum invited older children and their accompanying adults to attend and added age-appropriate art-making, storytelling, and entertainment to the day’s programs. Visitor surveys in 2017 revealed that second Sundays had built an audience of repeat visitors; up to 95 percent of attendees on those days had visited previously. The strong repeat attendance signaled to the staff that it was satisfying those who came, and also had considerable potential to expand its audience. </p><p>With that potential in mind, The CJM introduced a bigger, more highly promoted event in 2018. The new “Sunday Family Artbash” offers five hours of art-making, story-telling, music, entertainment, tours and dance movement connected to the exhibitions. The museum boosted advertising and publicity for those days and offered free admission for up to two adults accompanied by a child. That larger scope has required a reduction in frequency—four times a year instead of eight—but early results suggest the strategy is delivering. Family attendance regularly reaches 400 visitors and beyond (compared to 100 to 200 for the original second-Sunday program), and surveys show that 40 percent are first-timers. </p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-photo.jpg" alt="CJM-photo.jpg" style="margin:5px;" /><br><span style="color:#666666;font-size:16px;text-align:center;">Multiple generations p</span><span style="color:#666666;font-size:16px;text-align:center;">articipate in Drop-in Artmaking at The CJM's Family Artbash; photo by Andria Lo</span><br></p><h3 class="wf-Element-H3">“Hands-On” Visits Create Positive Experiences<br></h3><p>
In 2014, The CJM opened the Zim Zoom Family Room, an interactive, activity-filled space housing artist installations, artmaking facilities, a screening booth and more, accessible any time. Focus groups in 2016 showed that attendees enjoy visits more when they include hands-on activities involving parents with their children, so the museum continually refreshes the Zim Zoom Room with new installations and activities. A major section of the space is devoted to an interactive artist exhibit, which changes each year. Past installations included interactive digital projections, an infinity room of mirrors that changed as children added objects to it and a piano that added paint to a canvas whenever anyone pressed a key. Visitor research shows the typical family visits the galleries for half an hour, then goes to Zim Zoom to play for an hour and finishes with lunch in The CJM’s café. Aber believes the Zim Zoom Room and regular family Sundays are cementing The CJM’s reputation as a family-friendly art museum. Visitor data show the institution attracts a consistent family audience year-round, not just when certain exhibitions are on view. </p><p>The CJM’s research revealing the importance of hands-on activities has also reaffirmed the museum’s commitment to offering Drop-In Artmaking for families every Sunday in the education center. When that research also suggested that families appreciate having educators in the gallery near the art itself, The CJM introduced a mobile “Art PushCart” with activities suitable for galleries (i.e., without markers, glue or other wet materials used in Drop-In Artmaking). That immediacy allows educators to help families connect more directly with works on display. Artists featured in exhibitions have even donated in-progress pieces to the Art PushCart that children can explore in the galleries. Drop-In Artmaking still happens on the first and second Sundays of each month; the Art PushCart is offered in galleries on Sundays later in the month. </p><p>Space and material constraints limit Art PushCart activities, and families spend less time with that program than they do with Drop-in Artmaking. But staff observations suggest that the Art PushCart serves more people, because families don’t need to make a special trip to the education center. </p><p>The museum has settled into an annual family attendance of between 10,000 and 12,000 since the Wallace-funded learning period ended. Approaching its eleventh year targeting families, the staff is starting to see signs of a generational cycle of participation. “We’re now part of the lifetime of people’s connections,” says Aber. “We’re beginning to have museumgoers who came as young adults through our teen programs now attending with their own kids, continuing on that life journey.”<br></p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-attendance-post-wallace-funded-years.jpg" alt="CJM-attendance-post-wallace-funded-years.jpg" style="margin:5px;" /><br><br></p> | Bob Harlow | 82 | | 2020-01-07T05:00:00Z | New strategies and a new space have helped the museum welcome young visitors and sow the seeds for future growth | | 1/7/2020 2:58:48 PM | The Wallace Foundation / News and Media / Wallace Blog / The Contemporary Jewish Museum Is Now (Also) a Family Destination New strategies and a new space have helped the museum | 1745 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |
| Research and Self-Reflection Help Strengthen Community Ties | 42537 | GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 | <p>About 10 years ago, staff at Fleisher Art Memorial recognized that the organization was not keeping pace with demographic changes in its Southeast Philadelphia neighborhood. Although Fleisher had off-site community and school programs that served the neighborhood’s growing number of residents of Latin American and Southeast Asian descent, this population was not well represented among the approximately 4,000 students taking on-site classes. In 2008, Fleisher received a Wallace Excellence Award to identify barriers to their attendance and launch programs to eliminate them. The school then saw a subsequent increase in the perception of Fleisher as an inclusive organization and experienced an uptick in enrollment of area youth in its classes. That effort is described in
<a href="/knowledge-center/Pages/Wallace-Studies-in-Building-Arts-Audiences-Staying-Relevant-in-a-Changing-Neighborhood.aspx">a 2015 case study</a>.</p><p>Because audience diversification can take many years to accomplish, we were eager to revisit Fleisher and see how things now stand. We found an organization that is not only attracting an increasingly diverse audience but is also asking more questions about itself and inviting its community to help provide answers.</p><p>
<strong>Engaging the Community</strong></p><p>Fleisher Art Memorial was founded in 1898 in Southeast Philadelphia, which has been an entry point for newly arrived immigrants throughout its history. For most of the 20th century, Fleisher students came from a patchwork of nearby communities of European heritage. In recent decades, however, those populations have been replaced by newcomers from Latin America (mostly Mexico) and Southeast Asia, groups that Fleisher staff came to realize were not signing up for classes. </p><p>Though many of newly arrived immigrants had practiced art in their home countries—and it continued to be an important part of their lives—they did not know that Fleisher could provide them with art-making opportunities. Fleisher’s research revealed that even though the institution was committed to making art accessible to everyone, regardless of economic means, many of the new immigrants believed the school was for wealthier people of European descent, and in the absence of other information, they assumed they would not be welcome. Therefore, the staff put aside their original aim to engage community residents by offering new programs and instead focused on the need to challenge an inaccurate perception. </p><p>With that in mind, the school launched a community engagement initiative that integrated Fleisher activities into neighborhood daily life. New programs included:</p><ul><li>
ColorWheels (http://fleisher.community/programs/color-wheels/), a van serving as a mobile art studio that allowed the school to bring art-making to dozens of neighborhood parks, festivals and schools; </li><li>“FAMbassadors,” two local residents who joined the staff to raise awareness of Fleisher and notify the institution of areas where its programs could complement and enrich celebrations and other happenings; and </li><li>Expansion of ARTspiration, its annual day-long street festival, to make it more inclusive of various community groups.</li></ul><p>At the same time, staff members underwent cultural competency training to create a more welcoming environment on-site. They also participated in workshops on topics such as: building relationships, collaborations and partnerships; marketing and messaging in the community; and developing strategies to work with local agencies. After the staff did this groundwork, the neighborhood’s impression of Fleisher as elitist softened considerably, with visitor surveys showing a sharp increase in the perception of Fleisher as committed to serving non-English speakers and people born outside the United States. Moreover, the school began to serve more students from the neighborhoods immediately surrounding it.</p><p>
<strong>Continuing Existing Programs and Creating New Ones</strong></p><p>Since the 2015 case study, Fleisher has continued, and in some cases expanded, its engagement programs in these ways:<u></u></p><ul><li>The ColorWheels van still brings art-making throughout the neighborhood, with funding in part from the
<a href="https://www.pnc.com/en/about-pnc/corporate-responsibility/philanthropy/pnc-foundation.html" target="_blank">PNC Foundation</a>. </li><li>ARTspiration has grown and become more of a family festival. Last year, more than 7,000 people visited, a far cry from the less than 2,000 who came just five years ago. The organization still invites vendors and performers who reflect the community’s diversity. According to former director of programs Magda Martinez, ARTspiration has been one of the most effective ways of introducing large numbers of people to Fleisher. </li><li>As part of their orientation, new staff and board members learn about the community research and engagement work to help them understand its objectives and how they link to Fleisher’s mission.</li><li>Fleisher has hired its first communications director, translated promotional and registration materials into multiple languages and hired bilingual staff and faculty.</li><li>A new video-rich website, Fleisher.community (http://fleisher.community/), highlights Fleisher’s activities throughout the neighborhood.</li><li>With the departure of one of the original FAMbassadors and the organization’s changing relationship with the communities, staff members are rethinking what role these liaisons will play in the future. </li></ul><p>The following charts show youth- and adult-program enrollments and the percentage of those enrollments that draw from Southeast Philadelphia (defined as zip codes 19147 and 19148). The greatest growth has been in youth programs, with young people from the neighborhood now making up 38 percent of total enrollment, confirming research findings that suggested that residents wanted art for their children. While growth in adult programs has been slower, neighborhood residents now make up a larger percentage of such enrollment than in the past. </p><p>
<em>Youth Class and Workshop Enrollment</em><br><img alt="Fleisher-Youth-Enrollment.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Research-and-Self-Reflection-Help-Strengthen-Community-Ties/Fleisher-Youth-Enrollment.jpg" style="margin:5px;" /></p><p>
<em>Adult Class and Workshop Enrollment (incomplete data from 2013 and 2014 not shown)</em><br><img alt="Fleisher-Adult-Enrollment.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Research-and-Self-Reflection-Help-Strengthen-Community-Ties/Fleisher-Adult-Enrollment.jpg" style="margin:5px;" /></p><p>One new program forging relationships with neighborhood residents is the celebration of the Mexican holiday Día de los Muertos at Fleisher. Over several weeks each fall, a working artist and community members gather to create the art used for the festivities at Fleisher, including a large thematic altar (an “ofrenda”) that honors those who have passed away. There are also workshops to make papier-mâché sculptures and paper marigolds. The celebration culminates with face painting and a parade in the streets surrounding Fleisher (with music from community artists) and a gathering at the school. </p><p>
<em>Altar Created for Día de los Muertos at Fleisher</em><br><img alt="Fleisher-altar-dia-de-los-muertos.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Research-and-Self-Reflection-Help-Strengthen-Community-Ties/Fleisher-altar-dia-de-los-muertos.jpg" style="margin:5px;" /></p><p>
<em>Día de los Muertos Parade and Celebration at Fleisher<br><img alt="Fleisher-altar-dia-de-los-muertos3.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Research-and-Self-Reflection-Help-Strengthen-Community-Ties/Fleisher-altar-dia-de-los-muertos3.jpg" style="margin:5px;" /><br></em></p><p>
<em><br><img alt="Fleisher-altar-dia-de-los-muertos2.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Research-and-Self-Reflection-Help-Strengthen-Community-Ties/Fleisher-altar-dia-de-los-muertos2.jpg" style="margin:5px;" /></em> </p><p>Images by Gustavo Garcia, Colibri Workshop </p><p>The Día de los Muertos celebration began six years ago when Fleisher FAMbassador Carlos Pascual Sanchez connected Exhibitions Manager José Ortiz-Pagán with a local merchant hosting an ofrenda. The merchant, in turn, connected Ortiz-Pagán to local artists, dancers and community leaders involved with other Día de los Muertos festivities around the city. They formed a volunteer committee to create a large-scale ofrendaat Fleisher, inviting the local Mexican community and others. Ortiz-Pagán notes that the school did not invite an artist to come in for just one weekend and build an ofrenda. Instead, it asked the community to inform every step of the process, start to finish, in order to better nurture a long-term relationship. </p><p>Run by an autonomous committee of eight community members who create the budget and plans, the festivities have grown to become one of the largestDía de los Muertos celebrations in the Northeast. Fleisher provides space, materials and expertise such as fundraising and grant-writing support. Last year the observance also included a community fundraiser. Staff members say it was welcomed by neighborhood residents, who wanted to play a larger role in supporting the effort, and by Fleisher’s board and donors, who appreciated the event as an opportunity to gain a deeper understanding about the cultural tradition of Día de los Muertos.</p><p>Ortiz-Pagán sees the commemoration as emblematic of Fleisher’s commitment to being an integral part of Southeast Philadelphia by supporting communities to manifest their cultures, a mission reflected in other art-based partnerships as well. Such partnerships include a new Bring Your Own Project initiative funded by the
<a href="http://www.pewtrusts.org/en" target="_blank">Pew Charitable Trusts</a>, which invites artists to Fleisher to work with surrounding communities and the social service organizations that represent them. Says Martinez, “Instead of the artist coming in with a project already set, the artist spends time meeting the community, and we prepare participants to talk about what’s important to them and if they see art playing a role for their concerns in their community and if so, how?”</p><p>
<strong>Working as Part of the Community</strong></p><p>Stemming from the first period of research and program development, programs like Bring Your Own Project represent a rethinking of the institution’s approach to engaging with the community. In reaching out to the people they hope will be involved, staff members pose questions and try to learn about neighborhood needs before acting. They also constantly ask themselves why they want to take on a particular initiative and how it will have an impact on the community.</p><p>Martinez notes that the questions are the same regardless of whether the work involves community engagement or other Fleisher programming. In thinking through a new program for older adults, for example, Fleisher has reached out to a predominantly Latino immigrant–serving health agency to identify what art forms most interest its older clients, what kind of engagement would be best for them and what Fleisher can provide that would enrich their lives and is not available elsewhere. This inquiry has led to a new ceramics curriculum designed to promote story sharing and reduce social isolation among the elderly in immigrant communities. </p><p>This way of developing programs is a significant shift for the institution. “Questioning is now an intrinsic part of Fleisher’s culture. I’m not so sure we were good at that ten years ago,” says Martinez. “We now question ourselves, what we’re doing and why. We’re more aware of what’s happening in the city and on a national level.” </p> | Bob Harlow | 82 | | 2018-08-22T04:00:00Z | The Fleisher Art Memorial builds on its success in connecting with newly arrived immigrants in South Philadelphia | | 5/11/2022 4:25:35 PM | The Wallace Foundation / News and Media / Wallace Blog / Research and Self-Reflection Help Strengthen Community Ties The Fleisher Art Memorial builds on its success in connecting | 6906 | https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx | html | False | aspx | |