Personal Regenerative Practices in the Age of Information Overload

personal regenerative practicesBy Lucy Claire Curran

I am so grateful to have been able to take part in the morning breakout session on personal regenerative practices at Emergence, the Emerging Arts Professionals daylong annual convening on June 3, 2013. Facilitated by Emma Bailey, associate producer at Citizen Film; Carrie Blanding, former executive director of the San Francisco Contemporary Music Players; and Yesenia Sanchez, coach and consultant, this session explored how we can rest and regroup as arts professionals in the age of around-the-clock email and social media.

How can we make time for the creative work that most inspires us when we barely even have time to do laundry?

That’s Just How We Roll: The Balance Wheel and Beyond

Emma Bailey started us off with an exercise called The Balance Wheel.

The guiding question for the Balance Wheel exercise was: “How do you

Emma Bailey by Kegan Marling

Emma Bailey by Kegan Marling

spend your time and energy?” We were to choose eight areas of our life that we felt took up a significant amount of our time and energy. Next, we divided a circle into eight pie-wedge sections of equal size, each representing a different area of our life. We then drew a line across each section to indicate how fulfilled and satisfied we felt in that area of our life.

The closer the line to the middle of the circle, the less satisfied we were; the further out towards the outside of the circle, the more satisfied.

When we were done, Emma asked for us to share what we had discovered. We then spent a few minutes teasing out why our wheels looked the way they did and how we could make them more balanced. Many of us in the room felt that we spent most of our time trying to catch up with the necessary tasks of daily living. As a result, studio time or creative time or regenerative time – or any sort of time that allowed us to feel rested, rejuvenated, or inspired – was liable to be lost in the crush of “getting more pressing things done.”

The end result? All of us often ended up feeling depleted, frustrated, and discouraged.

Artists without Borders: The Importance of Boundaries in a Creative Life

Carrie Blanding by Kegan Marling

Carrie Blanding by Kegan Marling

After this lopsided time-allocation has been identified, what in the world is an artist supposed to do? It’s one thing to become aware of the problem, but it’s a whole different matter to begin to use our time more effectively.

Carrie Blanding followed up the Balance Wheel Exercise by leading a discussion about the importance of carving out time for recreation, and even time for doing nothing. We talked in particular about setting healthy boundaries at work and with family members and friends.

Setting boundaries, Carrie explained, might be as simple as telling family members, friends, and coworkers: “This is when I’m available, and this is when I will be busy with my creative work.”

Carrie also shared her technique of “managing expectations.” In other words, it helps to be straightforward and upfront with coworkers and others about when to expect that a particular project will be completed. All in all, the conversation was constructive and helpful, yielding several pragmatic and common sense approaches to achieving more balance in the face of the daily “to dos.”

Practice, Practice, Practice

yesenia sanchez by kegan marling

Don’t give up! Yesenia Sanchez by Kegan Marling

To wrap up the hour, Yesenia Sanchez spoke to us about positive practices and empowering beliefs that can support us  in achieving more balance and fulfillment in their lives. She started out by focusing on common ways we deplete our energy and creativity. The list included cramming our days and nights with obligations (gulp!) and indulging in people-pleasing to the extent that we give away our personal power (oh, dear, this one’s familiar, too!).

But don’t worry, says Yesenia. There’s hope!

She introduced a series of practices to help regenerate and rejuvenate on a daily basis:

  • Getting clear on what you want to be creating in your life, and then checking in daily with yourself on whether or not you are living your vision is empowering.
  • “Unplugging” in a very literal way is not only important, it’s essential. Try turning off your cell phone, perhaps just for a couple of hours at first. If you get really ambitious, you could even try it for a whole weekend. (Gasp!)
  • Doing things differently is very good for the brain, and it can also help us to regenerate and keep things fresh. This could mean taking a different route to work or even brushing your teeth with your non-dominant hand.
  • Practice having necessary conversations, even if they are difficult or uncomfortable. Voicing concerns right away, instead of waiting until resentments have reached a boiling point, can go a long way toward smoothing out difficulties in relationships.

To wrap up her time, Yesenia reminded us that we all usually have more power than we think to turn any situation in our lives in a more positive direction. And

She left us with an empowering belief that she encouraged us to take on as our own to drive us forward in our development as artists: “Your life,” said Yesenia, “is precious. It’s worth it to pursue the life you want to lead.”

All in all, it was an inspiring and informative hour. Having talked through common stumbling blocks and shared frustrations with the others in the room, I felt much less alone. In addition, I was equipped with a new set of inspiring tools and practices that I could use to achieve more balance in my life as an arts professional.

About Lucy Claire Curran

Lucy Claire Curran is a freelance writer living and working in San Francisco, CA. A recent graduate of Harvard College with a degree in English, Lucy Claire is currently at work on the manuscript of her first novel, titled The Third Hit. In addition to writing poetry and prose, Lucy Claire loves reading, painting, laughing, and going on adventures.

My Favorite New Trends in Philanthropy Part I

philanthropyBy Carrie Blanding

We’ve all been there: you’re at a conference, or a fund development meeting, or coffee with a colleague, and the conversation turns to What Is Wrong With The Current Funding System. We commiserate about the perils of chasing program funding. We lament the scarcity of general operating support. We share stories of insane reporting requirements. . . .

But lately when these conversations come up I find myself irresistibly bringing up the bright side. Why? Because for the past six months I’ve been reading a lot about philanthropy, and the beautiful truth is that I’m seeing some good ideas out there. Some of them are still just a twinkle in the eye of an academic, but others are starting to take hold and influence the way funding gets distributed.

So let’s take a little break from thinking about what’s not working, and focus on a few encouraging trends in the philanthropic sector. In this three-part series, I’ll write about a few of my favorites: improved assessment tools for donors, smarter thinking about capital, and outcome-oriented philanthropy.

Part 1: Improved Assessment Tools for Donors

Remember when organizational effectiveness was determined by how much a nonprofit spent on overhead? Well ring the bells, because that clumsy old metric is on its way out! The current trend is to look beyond simplistic ratios and empower donors with more well-rounded assessment tools.

The movement away from overhead ratios has been making headlines lately. By now we’ve all seen Dan Pallotta’s TED talk on the subject. Much more exciting, in my opinion, is this open letter denouncing the “overhead myth,” signed by the CEOs of Guidestar, Charity Navigator, and BBB Wisegiving Alliance.

In their words, the letter “marks the beginning of a campaign to correct the common misconception that [overhead] … is, on its own, an appropriate metric to evaluate when assessing a charity’s worthiness and efficiency.”

While the campaign is new, the idea is not. Various foundations, consultants, and information providers have been thinking hard about this issue for some time. That’s good news because it means that several new and improved online assessment tools have already been (or are being) developed.

Perhaps the most accessible of these is Philanthropedia. This site allows anyone to view free ratings of nonprofits based on peer assessments. Developed at the Stanford Graduate School of Business, launched in 2009 with funding from the Hewlett Foundation, and acquired by Guidestar in 2011, this young site is a testament to how the goal of improving donors’ access to information is supported across the philanthropic sector.

The arts are well represented on Philanthropedia, with twenty-one rankings of Bay Area arts nonprofits, and seventeen national rankings. The site only ranks its “top nonprofits,” refraining from singling out any groups as not worthy of support. It does, however, allow users to view the peer comments (both positive and negative) that it receives for non-ranked nonprofits.

Another new offering from Guidestar, with the Nonprofit Finance Fund, is Financial SCAN. Launched in 2012, this tool attempts to evaluate an organization’s financial health over the long term, in a more comprehensive way than ever before. Priced at $2,500 a year, Financial SCAN appears to be primarily intended for large foundations and financial advisers.

Charity Navigator, a ratings site available to the general public, is a bit behind the times but poised to catch up. Currently this site only rates nonprofits on financial health, accountability, and transparency, but they are working towards adding “results reporting” (basically impact measurement) to their evaluation criteria by 2016.

If you’re interested in getting a bigger-picture view of how this trend can improve the nonprofit world, check out this 2008 white paper from the Hewlett Foundation. In the report, the foundation describes its vision for a bustling nonprofit marketplace in which individual donors, empowered with better information, efficiently direct their resources to the best nonprofits. We’re not there yet, but we seem to be moving in the right direction.

Stay tuned for my next installment: an ode to growth capital!

C.Blanding_PhotoAbout Carrie Blanding

Carrie Blanding is currently on a research sabbatical in which she gets to blissfully romp through the most interesting nonprofit literature every day. She is particularly fascinated by organizational sustainability, personal resilience, effective philanthropy, and management theory.

Previously, she has been executive director of the the San Francisco Contemporary Music Players, and co-founder/principal of Next Big Thing Children’s Theatre. She earned her bachelor’s degree, summa cum laude, in comparative literature from the University of California, Berkeley, and received the department award for academic achievement.

An avid singer, Carrie has at times been a member of the San Francisco Symphony Chorus, a jazz vocalist, and a singer-songwriter pouring her heart out at your neighborhood bar.

6th Annual Arts Rendezvous Crafting Career Decisions

art rendezvous6th Annual Arts Rendezvous
Crafting Career Decisions

$10 advance registration – $15 at the door
get your tickets here.

Emerging Arts Professionals, genARTS Silicon Valley, and Djerassi Resident Artists Program invite you to join us for an afternoon getaway and fishbowl discussion about crafting career decisions.

Crafting a career in the arts is rife with decisive moments. How do we approach them? Who do we turn to for advice? Join Bay Area arts professionals, administrators, and artists at all stages to discuss the decisions we make affecting our careers.

Schedule:

1 – 3 pm
Hike in small groups through Djerassi’s stunning landscape to see a handful of the almost 40 on-site sculpture installations by past artists-in-residence and use the time to think and share about your career experiences, pivotal moments and transitions. Bring layers and shoes suitable for hiking on steep dirt trails.

2:30 – 5 pm
Replenish with delectable snacks prepared by Djerassi’s Chef, Dan Tosh.

3 – 4:30 pm
Reconvene in the Artists’ Barn for the fishbowl discussion.

We have invited some arts professionals to get the conversation started, but we need you to jump into the fishbowl to keep it going. Come with thoughts in mind or discuss on the fly. Walk away with new inspiration and contact information for that awesome person whose brain you have been dying to pick.

Need a ride or willing to drive? Carpooling is highly recommended. Join the event and post a message here to connect with people in your area who need a lift or are able to provide one.

Redesigned EAP Fellowship aims to accelerate change in the arts

EAP_1314FellowshipNowOpen_WebsiteGraphicWhat are the most challenging problems facing the arts sector in the Bay Area? And what can our arts network do to tackle them?

For 3 years the EAP Fellowship Program has asked these questions, each year gathering a diverse cohort of artists, advocates, and arts leaders to answer them collectively. Over the course of 9 months, the EAP Fellows engage in both dialogue and action, intended to simultaneously build their professional skills and advance the Bay Area’s arts and culture sector as a whole.

CLICK FOR FULL DETAILS AND ONLINE APPLICATION

Now in its fourth year, the EAP Fellowship has been re-designed to accelerate change in the arts. The retooled program will advance four emerging conversations:

  • Open Systems: What is the relationship between an arts organization, its mission achievement/impact, and its social and environmental context? With an increasing number of artists and arts organizations engaged in work promoting social justice, equity, and resolution of racial and socioeconomic conflicts, EAP is creating space for dialogue on cultural policies and systems that are open, responsive, transparent, and accountable.

  • Networked Approaches: Thanks in large part to new web-based tools, more arts organizations are realizing the power of networks, and rethinking how “network” and “community” relate to the purpose of their organization. EAP seeks to identify and share best practices, and collectively discover what styles of leadership are required to work in a networked way.

  • Regenerative Practices: With an under-resourced field like the arts, questions of sustainability are always paramount in the minds of arts leaders. The stress is felt not only by organizations, but by the individuals who work for and support them. EAP seeks to renew the energy and passion that drives people into the sector, and at the same time identify programs and practices that will encourage a healthier arts ecosystem.

  • Research & Development: Historically under-served, R & D activities in the arts include support for new forms, support for inquiry-based (rather than outcome-based) work, and promotion of innovative arts management practices and structures. As a new wave of innovators, investigators and entrepreneurs emerges, EAP seeks to advance an ecosystem that supports and values research and development in the arts.

The EAP Fellowship program also examines and redefines the skillset that will be required for arts leaders. In a sector where work roles are constantly evolving, EAP is exploring a more encompassing set of “hats” that arts workers must wear. EAP Fellows will explore the following four leadership roles, and will facilitate skill-sharing within their cohort:

  • Content Creators – event producers, data-driven decision makers, researchers, writers, thought leaders, action-oriented facilitators

  • Connectors – network weavers, people who forge new relationships, help discover shared values, manage communities, and whose work creates a sum that is greater than its parts

  • Visionaries – prolific communicators, compelling storytellers, strong advocates, inspiring leaders, natural innovators, lighting rods, strategic dynamos

  • Team Leaders – coaches, motivators, intrepid organizers, quality controllers, creators of systems, tacklers of complex projects, high achievers

To spur the creative juices of the group, EAP also brings in established leaders from the arts, and sometimes beyond, who share their wisdom by engaging in facilitated panel discussions and open forums. Past guests have included:

  • David Cody, president, San Francisco Permaculture Guild
  • Deborah Cullinan, executive director, Intersection for the Arts
  • Rachel Fink, director, Berkeley Repertory School of Theatre
  • Ken Foster, executive director, Yerba Buena Center for the Arts
  • Erica Gangsei, manager of interpretive media, SFMOMA
  • Joe Goode, executive & artistic director, Joe Goode Performance Group
  • Renee Hayes, associate director, Grants for the Arts / SF Hotel Tax Fund
  • Heather Holt Villyard, executive director, ArtSpan
  • Adam Huttler, executive director, Fractured Atlas
  • Sharon Maidenberg, executive director, Headlands Center for the Arts
  • Stanford School of Design (d.school)
  • Marc Vogl (formerly of the William & Flora Hewlett Foundation)
  • Akaya Windwood, executive director, Rockwood Leadership Institute

The EAP Fellowship’s heady mix of dynamic conversation and learning-by-doing is a unique offering, strengthened by the organization’s position as a network- and community-builder for the San Francisco Bay Area’s arts scene. The work of the Fellows, realized through public panel discussions, small group meetups and forums, publishing, and other engagement efforts, will be realized over the course of the year. The Fellowship will culminate in Emergence, the EAP annual convening and one-day conference, on Monday, June 2, 2014 in San Francisco.

Interested applicants are encouraged to apply by July 15.

Click for full details and online application

The EAP Fellowship Program was redesigned, with feedback from past participants, by the 2012-13 EAP Leadership Team: Chida Chaemchaeng (Leadership 2009-13), Bea Dominguez (Fellow 2010-11, Leadership 2011-13), Michael DeLong (Fellow 2011-12, Leadership 2012-current), Adam Fong (co-founder, Leadership 2009-11, Director 2011-current), Virginia Reynolds (Fellow 2011-12, Leadership 2012-current), and Ernesto Sopprani (Fellow 2010-11, Leadership 2011-current).

Emergence 2013: A Day of Uncommon Learning with EAP

Emergence 2013Join Emerging Arts Professionals / San Francisco Bay Area on June 3 at 10:00 a.m. at SPUR Urban Center  for Emergence, our daylong annual convening.

Emergence provides a collaborative platform for Bay Area arts and culture workers to connect, share ideas, and elevate their work and voices.

This, our third year, revolves around three overarching themes calling for attention: open systems: talking diversity beyond butts-in-seats, networked approaches: the power of collaboration, and regenerative practices: how individuals and organizations sustain themselves.

We’ve reached out to our community to gather thoughts on these topics — thoughts informing the flow of conversation throughout the day. Shaking up the typical conference model, Emergence presents an experience to engage and energize. Learning will unfold in many directions, demanding your input while sparking new ideas.

From the interactive morning keynote to an afternoon yoga break to the final session — a “fishbowl” exercise to synthesize the day’s ideas and lessons — you’ll be stimulated and renewed. Reflecting the very themes we’ll discuss during the day, sessions are designed to be multi-perspective, participatory, and restorative. As a group, we’ll capture emerging ideas to inform our plans for the year ahead while reflecting on and celebrating the work of our outgoing fellows.

Register today! Space is limited.
Tickets are $40 with 50% discount volunteer rate available. To inquire about volunteer opportunities, email adam [at] emergingsf [dot] org.

 

Emergence Schedule 

9:30 AM – REGISTRATION AND BREAKFAST

10:00 AM – COLLABORATIVE KEYNOTE

Frances Phillips, program director, Arts and the Creative Work Fund, Walter and Elise Haas Fund
Favianna Rodriguez, artist and organizer
Ernesto Sopprani, EAP director of community engagement, founder director of the [ABC] Consortium and THEOFFCENTER
Gregory Stock,  public programs educator and event specialist, Fine Arts Museums of San Francisco

11:00 AM – BREAKOUT SESSIONS 

NETWORKED APPROACHES  – BRIDGING THE ARTS AND TECH SECTORS

Brianna Haag, SF marketing manager at Eventbrite
Emma Leggat, head of Corporate Social Responsibility at StubHub
Alison Murdock, VP of Marketing at GigaOM and board member at Music in Schools Today
Facilitated by Maura Lafferty,  independent PR consultant

DEFINING OPEN SYSTEMS, DIVERSITY, REPRESENTATION, AND EQUITY

Lynn Johnsonco-Founder/CEO, Glitter & Razz Productions
Tammy Johnsondancer and organizational equity consultant
Ron Ragin, program officer for the arts, William and Flora Hewlett Foundation
Clare Wintertonexecutive director of the International Museum of Women
Facilitated by Karena SalmondEAP fellow & program director, Performing Arts Workshop

PERSONAL REGENERATIVE PRACTICES

Emma Bailey, Associate Producer, Citizen Film,  Co-Host, Spokespeople
Carrie Blanding, former executive director of San Francisco Contemporary Music Players
Yesenia Sanchez
coach and consultant

NOON LUNCH BREAK

1:15 PM – BREAKOUT SESSIONS

OPEN SYSTEMS: PATHS FORWARD
Facilitated conversation

NETWORKED APPROACHES: COMMUNITY ENGAGEMENT

Awele Makeba, producer of free performance series by Magic Theatre at Laney College
Rebecca Novick; director of the Triangle Lab (Intersection for the Arts & Cal Shakes)
Facilitated by Arielle Julia Brown, EAP fellow & theatre teaching artist, Destiny Arts Center & artistic director, The Love Balm Project

PROFESSIONAL REGENERATIVE PRACTICES
Facilitated conversation

2:15 PM – COFFEE AND YOGA BREAK
Yoga with Julie Potter, Senior Program Manager at the Yerba Buena Center for the Arts

3:00 PM – FISHBOWL SESSION
Facilitated by Adam Fong, director of EAP & executive director of Center for New Music

4:00 PM – RECEPTION

 

Speakers and Facilitators

Carrie Blanding, former executive director of San Francisco Contemporary Music Players
Arielle Julia Brown, EAP fellow & theatre teaching artist, Destiny Arts Center & artistic director, The Love Balm Project
Adam Fong, director of EAP & executive director of Center for New Music
Brianna Haag, SF marketing manager at Eventbrite
Clara Hatcher, president & co-founder, Bay Area Emerging Museum Professionals
Lynn Johnson, co-Founder/CEO, Glitter & Razz Productions
Tammy Johnson, dancer and organizational equity consultant
Maura Lafferty, independent PR consultant
Emma Leggat, head of Corporate Social Responsibility at StubHub
Lex Leifheit, executive director, SOMArts Cultural Center
Awele Makeba, producer of free performance series by Magic Theatre at Laney College
Alison Murdock, VP of Marketing at GigaOM and board member at Music in Schools Today
Rebecca Novick, director of the Triangle Lab (Intersection for the Arts & Cal Shakes)
Frances Phillips, program director, Arts and the Creative Work Fund, Walter and Elise Haas Fund
Julie Potter, program assistant, Community Engagement and Performing Arts, Yerba Buena Center for the Arts
Ron Ragin, program officer for the arts, William and Flora Hewlett Foundation
Favianna Rodriguez, artist and organizer
Karena Salmond, EAP fellow & program director, Performing Arts Workshop
Yesenia Sanchez, coach and consultant
Ernesto Sopprani, EAP director of community engagement, founder director of the Arts Building Consortium and THEOFFCENTER
Gregory Stock, public programs educator and event specialist, Fine Arts Museums of San Francisco
Sean Waugh, assistant to the director of artistic administration, SF Opera
Clare Winterton, executive director of the International Museum of Women
Tyese Wortham, program associate, cultural equity grants, San Francisco Arts Commission

To see what Emergence is all about, read the recaps from last year’s convening.

SPUR Urban Center
654 Mission Street (between 2nd and 3rd)
San Francisco, CA 94105

Join our collaborative Notepad by clicking the image below

hackpad-x-596-390x212

Bay Area Arts Skyline 2015 Event Recap

The Arts Skyline 2015What will the Bay Area arts skyline look like in 2015? The cultural landscape is constantly evolving in the Bay Area. New openings, closings, and innovations are inevitable in a metropolitan area. On March 27, EAP hosted a panel of leaders in the arts fields at the Center for New Music to discuss the challenges facing local arts institutions, small and large.

The panel featured Barrett Shaver, director of development, SF JAZZ; Christopher Borg, executive director, Community Music Center; Gina Basso, public programs, San Francisco Museum of Modern Art; and Jack Carpenter, production director, SF Ethnic Dance Festival.

Though looking towards the future was ultimately on everyone’s minds, the conversation stayed within the current context. Themes of the conversation revolved around staffing, capital campaigns, space, and project-based venues versus an actual building. We wanted to share some kernels of the experience with our larger network. Also, we love to continue the conversation beyond the brick and mortar, so feel free to add your comments.

Adam Fong, executive director of both Emerging Arts Professionals / SFBA and the Center for New Music, took the brave task of navigating the arts skyline with consistency and curiosity.

Some highlights of the current Bay Area Arts Skyline

The Exploratorium closed in Fall 2012 at the Palace of Fine Arts and will re-open on April 17 at Pier 15 with a new building.

The SFMOMA will be closing its doors for three years on June 2 to make way for construction of a 235,000 square foot addition. Until early 2016, the SFMOMA will present new art experiences around the Bay Area as the building is transformed.

SF JAZZ recently opened a brand new facility on the corner of Franklin and Fell streets to wide acclaim, moving from project-based to a cultural institution.

The Community Music Center will be expanding with the purchase of a neighboring house. Christopher Borg says it will make CMC more of a “campus.” CMC has been in the same building in the Mission district since 1921.

World Arts West, the organization hosting the San Francisco Ethnic Dance Festival, continues to have the conversation about finding a permanent home, believing they need to make the move to a more established organization within the city.

There is a light that never goes out

Overall, the tone is continuing to strive to be experimental with space, programming, and money. As we continue to move through the economic recession towards recovery, new spaces can mean new opportunity and hopefully engaging new audiences with a stronger brand than project-based models. Though institutions grow and consolidate, seeking new ways to engage audiences is at the heart of the conversation. And as Ms. Basso said, the SFMOMA is screwing little light bulbs across the city throughout 2016. But, don’t worry the lights won’t go out!

About Gregory Stock

Gregory coordinates public programs at the Fine Arts Museums of San Francisco along with a team of four under the direction of Renee Baldocchi. At the de Young, he provides support and logistics of Friday Nights at the de Young, a weekly “art happening” public and free event for all ages themed to the permanent collection and special exhibitions. At the Legion of Honor, he coordinates the Chamber Music Series and special exhibition programming. Other programs include special lectures and academic symposiums for special exhibitions. Interests cross between public art, digital tools, collaboration and social enterprise. He has been in the Bay Area for four years and graduated from Saint Louis University with a BA in American studies and history.

Re-imagining the Box on May 13 at SOMArts

Re-imagining The BoxEmerging Arts Professionals / San Francisco Bay Area invites you to an evening of open forum discussion to assess where and how R&D fits into arts and cultural innovation.

Join us on May 13 at SOMArts. Register today!

When other sectors are experiencing growth at exponential rates, how can we as arts leaders re-prioritize and re-imagine the R&D process to create impactful and innovative works in our communities? Does R&D necessary lead to innovation–and what does innovation in the arts field even look like at this point?

We’re conducting a little R&D about R&D, with plans to create a real resource for those in the field who are interested in the now, new, and next.

Who are the future thinkers in the field? How can we make forward thinking in the arts a higher priority in cycles of support?

We’ve invited some future thinkers of our own to get the conversation started, but we need you to bring you own ideas (#BYOID) to make it count!

Speakers include

Mat Dryhurst, Artup and GAFTA
Jess Curtis, Director/Choreographer/Performer
Jayna Swartzman, Bay Area, Center for Cultural Innovation
Julie Potter, YBCA

Our ultimate goal with this forum is to create a resource informed from your ideas. It will offer a space to share and learn about ways our peers continue to push the field into new directions–but to get things started, we need you!

Re-imagining the Box is supported by the SOMArts Cultural Center’s Affordable Space Program, which provides subsidized, large-scale affordable space and technical assistance to nonprofits.

SOMArts receives support from the San Francisco Arts Commission’s Community Arts and Education Program with funding from Grants for the Arts/The Hotel Tax Fund.

The mission of SOMArts is to promote and nurture art on the community level and foster an appreciation of and respect for all cultures. To find out about SOMArts classes, events and exhibitions, please visit www.somarts.org.

somarts

Spring Mixer

EAP_SocialMixer_WebsiteGraphic
Thursday, May 9, 6:00 – 8:00 p.m.
Pro Arts
150 Frank H Ogawa Plaza
Oakland, CA 94612

FREE! RSVP via Eventbrite

You asked and we answered! We know you love our heady panel discussions and all but, perhaps even more, you love to let your hair down with us.

Come network, mingle, and explore one of Oakland’s leading galleries! Meet fellow Bay Area artists and arts sector workers over drinks and snacks at Pro Arts, and learn more about Emerging Arts Professionals (EAP). See over 400 pieces in Pro Arts’ East Bay Open Studios Preview Exhibition and enter our business card raffle for some special art prizes. Bring your cards and a desire to meet like-minded folks!

Mixer is FREE but please REGISTER HERE

 

 

Thanks to Pro Arts for hosting!

Pro Arts Logo

501 See (3) You Later?

501 See (3) You Later501 See (3) You Later?
Hub Berkeley
Thursday, April 18
6:30 p.m.

2150 Allston Way, Suite 400
Berkeley, CA 94704
(510) 649-7700

Is the 501(c)(3) model the only way to run an arts organization? Arts and culture organizations face greater challenges as traditional arts funding decreases and philanthropic needs shift rapidly. Join us to learn about new financial models including benefit corporations (B corps), low-profit limited liability corporations (L3Cs) , and the emerging economy of social enterprises and impact investing.

Experts from the field will teach you essential information on each of these new financial models while you mingle with arts, culture, and business workers from across the Bay Area region. We will conclude the evening with a fun arts prototyping activity giving you the opportunity to make a creative enterprise using one of the new financial models.

Get your ticket now on Eventbrite.

Moderator:

Mariko Chang (Former EAP Fellow & Masters Candidate at JFK University)

Panelists include:

Andy Fyfe (Community Developmment at B Lab)
Josh Furnas (Owner at Selfless)
Daniel Roberts (Attorney at K2 Law Group)

How Arts Organizations Are Engaging Community Online

Engaging Online CommunitiesBy Ryan Biega, EAP Fellow

In the  San Francisco Online Community Meetup panel hosted by TechSoup, representatives from four arts organizations discussed how they are using social media in new and innovative ways to market the arts.

Michel DeLong, online community manager at TechSoup and part of the leadership team with Emerging Arts Professionals, moderated the discussion. Panelists included:

• Danielle Siembieda, former community engagement and special projects manager for ZERO1: The Art & Technology Network in San Jose, CA.
Maura Lafferty, an independent communications consultant working with classical musicians and performing arts organizations in San Francisco, CA.
• Dan Meager, director of marketing at Diablo Ballet in Walnut Creek, CA.
• Carly Severn, digital engagement associate at San Francisco Ballet in San Francisco, CA.

Art & Social Media: Case Studies

Danielle Siembieda (@art_inspector) created a project called Art Ambassadors. She started this project as a response to the commonly heard statement, “I just don’t get art”. Its purpose was to train students to experiment with, understand, and share art using social media and face-to-face interaction. As part of the marketing campaign for the 2012 ZERO1 Biennial, it also functioned as a professional development program in arts administration. An interactive map app was also collaboratively created by the community as a social experiment to facilitate user experience. Through this project, she bridged the gap between curator and audience using the essential component of social media: technology.

Dan Meager (@DiabloBallet) used Twitter to crowdsource the first ballet work created from the Internet with the goal of making classical art forms more relevant. Highlighted on the Huffington Post, this social media project invited the Twitterverse to submit ideas for everything related to the performance: concept, mood, even the moves of the dancers. Meager also used YouTube to crowdsource the score of the dance. The Diablo Ballet used social media and received media attention on The San Francisco Chronicle and the Huffington Post without a $5 million budget. As Meager mentioned, while the ROI of social media is hard to define – the broad exposure social media brings to the arts is well worth the work.

Maura Lafferty (@mlaffs) introduced a new digital asset community managers could use to measure ROI. The new app, Awe.sm, correlates social media data with revenue at a low monthly cost. As a “Chief Happiness Officer” because she sees community managers as the liaison between the audience and the strategic goals of the client or organization–ensuring everyone is happy. This can be difficult in the arts, where audiences’ values can differ greatly. Take her specific case: marketing classical music to a generally younger audience on social media channels. Lafferty communicates strategically by finding out how values from different audiences relate. This involves constant monitoring to gain a fluency in the dynamic trends of social media.

Carli Severn (@teacupinthebay) hit the nail on the head. In the performing arts, the audience is your lifeblood. When arts organizations are creating strategies around audience development, they must first know who their audience is. Severn spearheaded a new marketing initiative for the San Francisco Ballet that used social media to grow audiences through a series of contests. Using Twitter, Instagram, Tumblr, Instagram, Pinterest, Twitter , Facebook, and WordPress, she cross-promoted The Nutcracker by offering special seats to contest winners. Knowing the audience was for each platform proved to be effective. Because of this social media campaign, the Nutcracker is seen as a local tradition.

As arts organizations across the globe begin to recognize the the value of social media as an integrated marketing and communications tool, the role of community manager will inevitably grow. These panelists have demonstrated innovative strategies for using social media to interact with and grow audiences in the arts.