Week 2 PDF - Arts Management

INFORMATION November 28, 2024 7:51 PM Key concepts & terms - entering the field of arts management (***make sure to read the DeVereaux article!***); ○ What is an arts manager? Why study arts management? - analysing the concentric circles model (***make sure to read the Throsby it...

INFORMATION November 28, 2024 7:51 PM Key concepts & terms - entering the field of arts management (***make sure to read the DeVereaux article!***); ○ What is an arts manager? Why study arts management? - analysing the concentric circles model (***make sure to read the Throsby item***) ○ What is the value of arts & culture? - reprise of public good & public broadcasting; - digging into the meaning of non-profits, for-profits, charitable organizations, creative hubs, social enterprises & hybrid models. Required readings (please read before class): - DeVereaux, Constance. 2020. Arts Management: Reflections on role, purpose, and the complications of existence. Ed. William J. Byrnes. The Routledge Companion to Arts Management, 15-25. Routledge. (9 pp). - Guadagnino, Kate. 2024. “Everyone Who Made This Happen: Meet the Many People It Takes to Produce One Thing,” The New York Times Style Magazine. August 5, 2024. https://www.nytimes.com/2024/08/05/t-magazine/teams-artists-food-theater- fashion.htmlLinks to an external site. - Throsby, David. N.d. “Why the Arts are a Central Force in the Economy” (concentric circles model). Week 2 Page 1 READINGS November 28, 2024 7:53 PM The Routledge Companion to Arts Manageme [Pages 15-25] [2024-09-07] The role of a teacher is to educate The role of a doctor is to heal The role of an arts manager is to _____________ - A response such as to manage the arts or to manage an arts organization does not seem quite right - "arts management has been described as a fragmented field" ○ Means that its roots and borrowings from other fields are multiple and varied ○ There is no well-defined or agreed-upon canon that documents its development - "Although role speaks to function, they are not the same thing. Roles according to Pacheco and Carmo cannot be reduced to their deontic characterization. That is, they are more than a "mere set of obligations, permissions or other normative concepts". Function in contrast, related to tasks, permissions, acting and interacting, and similar types of activities" - ARTS MANAGERS MAKE THE ARTS HAPPEN - A question remains whether the work of the arts manager is categorically different, in some way, from non-arts managers ○ Arts managers exist ○ They perform functions - Context is an important element ○ Davis and Barrett sees roles as extrinsic features of an entity that are linked to modalities of participation ○ “A musician is still a musician while sleeping” Week 2 Page 2 Lecture Notes November 28, 2024 8:07 PM PART 1 Roles vs. Function - Function: focuses on the specific actions (e.g. managing finances, scheduling events) that an arts manager performs to keep an arts organization running - Role refers to the larger purpose and identity of the arts manager in connecting artists with the public, promoting cultural values, shaping the arts presence in society - DeVereaux highlights that the role of an arts manager is about more than performing tasks efficiently; it is about understanding the importance of the arts and acting as a facilitator and advocate in the arts ecosystem. Arts management theory from DeVereaux - “William J. Byrnes’ Management and the Arts and Art Extension Services’ Fundamentals of Arts Management have earned the status of canonical guides to the functions of arts management” (page 16) - “The Arts Management Handbook (Reiss, 1962) leads with economics and sociology but is strongly informed by a management perspective …” - “Arts Administration and Management (Shore, 1987) begins with an overview of management and its concepts, then proceeds to show how these principles may be applied to the case of managing arts organizations ….” - Roswell’s Arts Management: Uniting Artists and Audiences (2013) continues the trend including several chapters on the historical development of management from the late 19th to early 21st centuries… - John Pick and Malcolm Anderton, who co-authored Arts Administration (1996), make much deeper inroads into exploring the nature of arts management (or administration, in their terms) with a statement, echoed in my own, that the role “cannot be adequately described simply by offering the conventional description – ‘arts administrators are people who administer the arts’” (1).” (all from p. 17) What Do Values Have to do with it? - Values-based endeavours (we will look at mission/vision statements soon) - Mix of roles include entrepreneur, educator, etc. as well as manager - Functions such as intermediary, translator, aide and an enabler - what is an intermediary? What does cultural policy have to do with it? - “Arts management in the United States emerged with the creation of the National Endowment for the Arts. Consider, then, the declarations and purposes espoused in the United States’ National Foundation on the Arts and Humanities Act” (DeVereaux p. 18) - Consider also the Canada Council for the Arts Act, and other pieces of legislation and regulation that help define what professional arts, culture, and media are, and who that involves (more on this in the Cultural Policy class and course!) These are cultural policy tools that emerge from theories about management - "While no government can call a great artist or scholar into existence, it is necessary and appropriate for the Federal Government to help create and sustain not only a climate encouraging freedom of thought, imagination, and inquiry but also the material conditions facilitating the release of this creative talent." Week 2 Page 3  facilitating the release of this creative talent." - "No novelist, poet, short story writer, historian, biographer, or other writer of non -technical books can make even a modestly comfortable living by selling his work in Canada. No composer of music can live at all on what Canada pays him for his compositions. Apart from radio drama, no playwright, and only a few actors and producers, can live by working in the theatre in Canada." Gifted Canadians "must be content with a precarious and unrewarding life in Canada, or go abroad where their talents are in demand." WHY DO PEOPLE STUDY ARTS MANAGEMENT? - “Notable among Dubois and Lepaux’s findings is the suggestion that applicants to arts management programs differ from those who apply to other kinds of university degree programs, which could lead to the expectation that these differences will persist at the end of their education and into their careers.” - “According to the authors, students applying to cultural management degree programs in France are primarily women from affluent backgrounds who have “accumulated high levels of educational capital” (47) before submitting an application to the degree program. They have a “personal taste for culture and intense cultural practices” (48) and desire to work exclusively in the cultural sector. Socialization and upbringing have a great deal to do, therefore, with the choice of cultural management as a career. This is significant because it is consistent with the principles of role theory as described here.” - “Of note is that in the global context, the notion of arts managers as intermediary is expanded to require negotiation more so than bridging or connecting, in this case against such forces as imperialism and globalization. The concept of identity is also raised. As one participant states, “it is important for the cultural manager as a social manager to be concerned with one’s identity; what we are.” (33). Cultural hegemony is a pervasive threat to local cultural identity as indicated by a participant who comments that cultural managers have a great deal of power, which should be used “very carefully” (56). - “Rather than ask what an arts manager is, I prefer the question: what can an arts manager be?” Week 2 Page 4 PART 2 WHAT IS THE VALUE OF CULTURE? PUBLIC GOOD - A commodity or service that is available to all members of a society, typically administered by governments and paid for collectively through taxation - Economics: a commodity or service that is provided without profit to all members of a society, either by the government or by a private individual or organization - Public: the benefit of well-being of the public. [often referred to as] 'the frequent conflict between the public good and private interests' PUBLIC BROADCASTER - Public broadcasting by an organization funded or subsidized by the State or public funds; non - commercial broadcasting EXAMPLES of NON-PROFT arts & cultural organizations - (non-commercial) art galleries such as the Art Gallery of Ontario (also a charity) or U of T Art galleries - Some Creative Hubs (many are social enterprises though) - Artist-run centers including some tenants of 401 Richmond (many are also charities) - Canadian Opera Company or National Ballet of Canada or National Arts Center (charities) - Crowsnest Theatre & hundreds of other theatres and dance companies in Canada (mostly charities also) CHARITABLE ORGANIZATIONS - Thousands of organizations (including several that are also non-profits) Week 2 Page 5 Examples of FOR-PROFIT MEDIA PRODUCTION & DISTRIBUTION COMPANIES Examples of NON-PROFIT (PUBLIC) MEDIA PODUCTION AND DISTRIBUTION COMPANIES Week 2 Page 6 Examples of NON-PROFIT (PUBLIC) MEDIA PODUCTION AND DISTRIBUTION COMPANIES Examples of FOR-PROFIT SOCIAL MEDIA, MEDIA, OR THEATRE PRODUCTION & DISTRIBUTION COMPANIES Examples of MEMBER-BASED WORK ASSOCIATIONS & UNIONS - ACTRA - American Federal of Musicians - Directors' Guild of Canada - SOCAN - Writers' Guild of Canada or regionally Examples of NON-PROFIT & FOR-PROFIT RASOs and NASOs - Regional Arts Service Organizations (RASO) and National Arts Service Organizations (NASO) - Creative City Networks - Creative Hubs and Networks Examples of NON-PROFT FOUNDATIONS - Corporate foundations Week 2 Page 7 - Corporate foundations ○ e.g. ○ SOCAN Foundation ○ TD Charitable - Community Foundations ○ e.g. ○ Community Foundations of Canada - Family Foundations ○ e.g. ○ Bill & Melinda Gates Foundation ○ Claudine & Stephen Bronfman Family Foundation Week 2 Page 8