Stephanie Moore's List: emslist

• but for BAN7, YBCA put out an open call to arts organizations that asked: What work are you doing? Who are you showing? What does your Bay Area arts microcosm look like? BAN7 grew from these proposals – a collection of “responses” individually curated by each participating organization. After all, who better to decide how to depict what’s going on in the arts community than the community itself?
• For YBCA, No Soul For Sale’s decentralized approach to curation and familiar commitment to representing a diversity of voices seemed like a good model to test. By setting a goal for BAN7 to “provide a platform for promoting a stronger sense of shared community among multiple publics,”
• Earlier this year, Blogging Fellow Erinn Roos-Brown wondered whether the role of the curator was evolving from a position of “knowledge disseminator” to “knowledge facilitator.”
• The arts field as a whole has always been a progenitor of bold ideas and experimentation – and at present, is grappling with the bold idea that individual arts organizations might quiet their own ideas and perspectives in order to give voice to those around them – whether those voices originate from within their own arts community, or somewhere entirely new and unexpected.

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• YBCA:You – Similar in design to a gym membership, YBCA:You is a monthly-fee program that grants members free admission to YBCA programming as well as the opportunity to work one-on-one with an “art coach” to identify one’s art goals. YBCA:You members receive biweekly communications with program and event recommendations that align with those goals.

• The first—Common Ground—is a social convening of approximately 30 people who gathered to discuss broad questions or issues related to Cleveland and the arts. The second—It’s Your Move—is a video collection of spontaneous moves created by GroundWorks artists and volunteers that are posted on GroundWorks website and the It’s Your Move YouTube channel.
• Shimotakahara suggested that GroundWorks begin to see itself as “a curator, catalyst and caretaker of the audience’s curiosity… purposely leaving out the ‘D’ for dance, [in order to] leave open a much more interesting and wider and more dimensional arena where this exchange can happen.”
• The challenge now is for GroundWorks to deepen the impact by connecting its successful experiment more closely to what the organization does artistically.
• It’s Your Move is just a way to give people permission to be silly and have fun with movement. It’s not just this sort of high art thing that only dancers do.
• Brown advises others attempting a similar process to “come with an open mind and chuck out any preconceived notions.”
• So I began to see us more as a whole organization—not just one putting a show on a stage, but also one involved in other parts of the community that didn’t involve performance or dance. To me, this made us a more whole, a more well-rounded organization.”
• Allowing outsiders onto the Innovation Team was a huge enabler, says Rutkowski, as they brought a totally fresh perspective and an array of unexpected ideas.

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• the Foundry Theatre
• Foundry has been creating nothing less than a ferment in communities around New York:
• In addition to (or, rather, as an outgrowth of) this community-oriented work, Foundry is creating some of the most exceptionally innovative and artistically challenging work
• One senses that the house that Foundry has built (and the “house” is strictly figurative—they are itinerant), in which new audiences and avant-garde content live together harmoniously, would be the envy of “brick and mortar” institutions tied to aging subscriber bases and enhancement-based tryouts for commercial productions.

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• where its Live from Orchestra Hall webcasts grew to 300,000 viewers.

  • plus Mix @ the Max

• More important to the Museum’s long-term goals, it was an opportunity to engage creative locals in conceptualizing, programming, and installing in a significant way.
• my first instinct was to call upon friends on staff at other museums for feedback and insights. But my DAM colleagues encouraged me also to talk with community members who are intimately involved in the world of fiber and textiles. I soon discovered the enormity of that group: there are dozens of guilds in Colorado dedicated to quilting alone. Who are all of these people? What inspires them? Once we started the conversation, the outpouring of excitement was remarkable.

   
• They’re tagging with yarn.
• we’re seeing visitors’ confidence and creativity grow. They’re not only contributing in unique ways to the pieces we’ve offered them formally, but they’re also going rogue.
• I did not enter this project thinking about the importance of co-creating a permanent space with our community, but now that I’ve seen it through this way, my work will never be the same.

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• Playing with Food is a concert that draws connections between the shared creative processes of musicians, chefs, audiences, and eaters through the presentation of music inspired by food and food inspired by music

• taking collective action helps us develop artistically and administratively
• we are premiering our fourth original production Possum Kingdom, a story inspired by the ongoing environmental ruination and societal crises in south Louisiana
• we partnered with the Louisiana Bucket Brigade (LABB), an environmental health and justice organization.
• a LABB art installation about Down By the River at our performance space, a public bike tour led by LABB and sponsored by Cripple Creek along the Mississippi River Road levee, conversations with the audience and artistic team featuring LABB, and an original performance piece by a Down by the River member, Lexus Jordan, which will be performed as a prelude to Possum Kingdom.
• the relationships that have grown between LABB and Cripple Creek have significantly shaped how and what we create.

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• Cleveland's "Under 18s Free" program brought over 8,000 young people to the hall that season.
• New World Symphony has been trying out 30-minute mini-concerts, hour-long, "Encounter," concerts that come with commentary and receptions, and late-night, "Pulse," concerts that begin at 9:30 p.m. and create a club-like experience.

• Catalyst Initiative is to serve individual and ensemble artists who are interested in work that brings arts-based practice into collision with community activity in meaningful ways, but aren’t seeing access points and resources that connect them to vital examples all over the country.
• There will be some funding for the artist or arts organization; there will be some funding for the non-arts community partner; and there will be compensation plus travel and lodging for the whole cohort to come together in Chicago for a multi-day training, looking at partnership and looking at the conceptual palette through which they could imagine projects.
• are the projects in which the artists and the non-arts partners engage successful and impactful with regard to the goals they’ve defined together?
• is there impact in the communities outside the partnerships?

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• Budget Blues, brought in a fantastic trio who performed mostly jazz standards on ukulele, drums and tea chest bass in the Parliamentary Members Lounge of the Old Parliament House. (If you’re curious about what a tea chest bass is – well, it’s a bass made from an old wooden tea chest, with a broomstick and a piece of string attached to it. 
• partnerships with many of Australia’s national cultural institutions and made stronger links to their exhibitions and collections, which added richness and depth to the concert experiences on offer.
• Canberra Cantata, for which I engaged a local composer/cabaret artist to create a work that was all about Canberra, starring a range of varied Canberrans.  We held a lyrics competition in elementary schools, for which kids
• I committed to programming one dozen core concerts in each festival that our “typical” subscriber might enjoy. But beyond that, everything new I programmed was for other people and I had no expectation that our core subscribers would attend these new events, although many of them chose to do so.
• so that everything new that I created was for people who did not fit the profile of our core subscribers (who were white, affluent, and over 50 years old). As our attendance showed, there was no shortage of new audience members willing to come and join us, including many more children, families, and people younger than 50.

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• • 2,3,4 (org or just Allison? does it matter?), 5, 6
    
    need to watch full video and dig around for a little more, but a definite high priority
    
    take a profession overlooked and give them the opportunity to highlight their work in an artistic way to connect with the community. Arts org connections?

• • Meets 1, 2?, 3, 5 (limited opportunity), 6
    
    Connecting with younger dance audiences who had never attended a show and were unsure of how to attend a show. Uses dancers, dance teachers, choreographers, etc to build personal relationships with new audiences to grow the base for DANCECleveland --- more org focused less community focused but interesting
• Comprised of dancers, choreographers, teachers and other dance professionals,

• The GSA Foundation orchestrated a unique partnership that has resulted in a win-win for music lovers, Earth lovers, and communities across the nation.
• video blog on the creative process at vimeo.com/jeffreynytch/videos.
• connect with our surroundings through music in this way!
• activities are also planned to bridge science and music for outdoor-enthusiasts and symphony devotees
• myriad connections among landscapes, the earth’s deep history, and the human experience

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• The Boulder Phil is going to commission a symphony from me, inspired by the geology of the Rocky Mountains, and we’re going to get the Geological Society to underwrite it to celebrate their anniversary.”
• artists tend to look on their work as something they merely need to convince people to want.
• a geologic symphony fit perfectly with the season the Boulder Phil was already planning: a season of works inspired by the natural world.
• Boulder’s love of the outdoors,
• So the project would meet the needs of the organizations involved – the Boulder Phil’s season and mission, the Geological Society’s anniversary – and as a result we had the project underwritten inside a month.
• marketing by itself does not create value
• video blogs
• talks about the symphony and guided hikes led by naturalists from Boulder Open Space and Mountain Parks and myself, armed with a portable MP3 player and snippets from the symphony to accompany our hike.
• journey from information to engagement
• The life of this symphony is only beginning

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• The Cincinnati Symphony has been doing “One City, One Symphony” events, involving  a gala performance of a piece (they started with Beethoven’s Ninth), and listening parties around the city, all built around the theme of “our common humanity.”
• Go-Go Symphony

  • need to look into one city, one symphony
    
    Go-Go Symphony - brings together classical music and go-go music to bridge the two musical forms and connect the audiences/lovers of each venue.
    
    Mainly involves music + music and doesn't go out into the social services realm. However, it is a long-term collaboration... 
• Now it was mashed up with classical music, with go-go drummers, a rapper, dancers, and go-go instrumental soloists
• an hour-long show, in which several pieces of mixed-genre music were played against a nonstop surge of go-go drumming (as Liza taught me, at go-go shows the drums never stop)
• concert was presented as a go-go show, including go-goified versions of classical pieces
• It felt like something that grew organically from the fusion we could see and hear unfolding before us.
• Forty percent from the Capital City’s mailing list,
• heavily white

• developing a black audience at the Atlas (no disrespect to them) might take a while.

   
• How to relate to communities.
• Do their music.
• go-go fans don’t tend to buy go-go music tickets in advance. They’re used to making such decisions at the last minute

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