In an attention economy, controversy has value. It’s no exaggeration to say these political battles within CanLit now dominate the discussion of Canadian writers and writing. The “appropriation prize” controversy, for example, blew up in a journal that few people had ever heard of much less read, and yet it garnered an enormous amount of national media coverage. And, while Joseph Boyden is a bestselling, award-winning novelist, he is probably better known today for questions raised about whether or not he qualifies as an Indigenous author.
The Senior Director of Communications and Marketing is a skilled collaborator, creative thinker, and energetic contributor who plans and implements a comprehensive communications and marketing program to grow brand awareness, position Curtis as a leader in the industry, deepen patron engagement, and continue to successfully compete for the world’s top musical talent. He/she manages and strategically guides creation of key communications vehicles (including, but not limited to, print publications, promotional collateral, e-messaging, and promotional video content) and proliferation of key messages to various Curtis constituents to strengthen and heighten the Curtis brand locally, nationally, and internationally for all performance activities, fundraising initiatives and campaigns, and institutional objectives. The ideal candidate will coordinate and integrate the many Curtis communications channels and voices, creating a unified experience for the audience.You have 200 characters to tease your ad.
The Senior Director of Communications and Marketing partners with other members of the Advancement team to increase new audiences to Curtis, grow ticket sales, generate positive publicity, and deepen engagement with donors and ticket buyers. He/she will also partner with colleagues to increase applications to Curtis and Curtis’s Summerfest program. This role is a key liaison with Curtis’s creative design agency and is responsible for ensuring a consistent and effective brand identity for the school. As an integral part of the management team, she/he reports to the Vice President of Institutional Advancement and works closely with the office of the President.
Key Partnerships: Marketing and Communications Committee, External publicist(s), Associate Director of Individual Giving, Summerfest Manager, Curtis Admissions team, Curtis on Tour team.
Direct Reports: Senior Editor, Graphics and Visual Assets Designer, Communications and Marketing Manager, Digital Content Producer, Associate Director of Performances and Events.
- Lead external content strategy and editorial direction
- Determine content priorities and messaging for social media, website, video, Overtones, program books, and other online and print communications
- Develop institutional key messages
- Crisis and contingency communications and management
- Help identify challenges, emerging issues, and trends, advise leadership (Senior VPs, Roberto, trustees) on proactive communications strategies that position Curtis favorably
- Maintain institutional crisis communications plans
- Hire and supervise external publicists and consultants as needed
- Manage rollout for major announcements (i.e. new programs, multi-million dollar gifts, etc.)
- Serve as staff liaison to the Marketing and Communications Committee; participates actively in related reports/presentations to the Board of Trustees
- Focus on initiatives of key importance within the Strategic Direction
- Curtis on Tour (Global Music Community)
- Oversee promotion of Curtis on Tour, including marketing, publicity, programs, photography, and audience building and information collection
- Input on presenter agreements
- Digital Space Optimization
- How online content can be effectively developed and positioned
- Community Impact (Programs, Teaching Model, Experiential Learning)
- Bringing attention to Curtis’s initiatives in this area
- Bringing attention to Curtis’s initiatives in this area
- Develop and implement annual marketing plans and the corresponding budgets in the following areas:
- Performance Marketing, including ticketed performances and the Student Recital Series. Work closely with the Associate Director of Performances and Events to plan and implement annual ticket buying/subscription campaign, in print and online, identify target audiences, set prices, develop packages, develop and optimize the ticket purchase path.
- Admissions – in partnership with the Admissions team
- Summerfest – in collaboration with Summerfest Manager
- Responsible for ticket sales revenue and meeting a yearly revenue goal.
- Support the work of the development team by advising on donor-focus marketing campaigns and generating leads from ticket buyers and free recital attendees.
Visual Brand identity
- Manage the relationship with the school’s primary external design firm, direct creative output
- Ensure a consistent visual identity in all print and online imagery
- Expand Curtis’s abilities to make the most out of the marketing opportunities via its current CRM system (Emma/Raiser’s Edge) and future systems (HubSpot/NXT).
- Work with Communications Manager to develop documentation and road maps for processes, A/B tests, and promotions that succeed through email.
- Work with Associate Director of Digital Engagement to gather actionable data and implement changes. Monitor effectiveness of promotional campaigns and advertising strategies through attendance figures, statistics relating to e-newsletter campaigns, Curtis.edu analytics, and other metrics.
- Promote and foster a data-driven approach to decision making, using existing data and recommending and establishing additional metrics to assess the impact of major marketing and communications initiatives.
- Manage Marketing budget, PR budget, Curtis on Tour budget, Campaign Marketing budget, oversee all other marketing/communications department budgets.
- BA/BS and 7-10 years of experience.
- Understanding of integrated marketing; fluency with the ways various offline/online and brand/direct response channels work together.
- Strong brand messaging and creative experience; understands how to develop brand messaging strategy and execute through creative in print and online.
- Experience using customer segmentation to drive successful campaigns, including success with email marketing, lead nurturing, and/or marketing automation.
- Highly analytical and able to derive meaning from data, comfortable with ongoing experimentation and adjustment in response to results
- Excellent writer and communicator (in both written, visual, and verbal form).
- Flexible; able to juggle multiple projects and work with a wide variety of stakeholders
- Skilled at collaboration and cross-departmental work
Required Core Values:
The ideal candidate will exhibit the following core values:
- a positive, “can-do” attitude
- devotion and dedication to Curtis and its community
- passion for his/her work, and contribution to the field and greater good
- commitment and accountability for his/her work, and his/her ability to affect change
- desire and willingness to collaborate, think creatively, and make data-driven decisions
- respect, courtesy, and patience for all members of the Curtis community
- an eagerness to make Curtis a more diverse and inclusive institution
Working Conditions/Physical Demands:
- Night and weekend work required (as needed)
- Basic office environment
For best consideration, interested and qualified applicants should electronically submit a cover letter, resume, three professional references, and salary requirements to: firstname.lastname@example.org Curtis offers a competitive compensation and benefits package. Hire is contingent upon the successful passing of criminal (ADP) background screenings. The position is open until filled. No phone calls, please. EOE. URL: http://www.curtis.edu
Although most of us would agree that both bullshit and the outright lie are modes of misrepresentation, there exists a key difference between the two. Neither the bullshitter nor the liar can be relied upon to tell the truth. But in order to lie, the liar must first believe that she knows the truth; only then can she persuade her audience of what she knows to be untrue. The bullshitter, on the other hand, maintains no relationship at all with the truth: it is irrelevant to the bullshitter whether what she says is true or false, and what she is guilty of misrepresenting is precisely her concern for the distinction between the two.
The New Jersey Symphony Orchestra seeks a Vice President, Marketing and External Affairs to lead all aspects of planning, implementing, and evaluating the marketing, public relations, communications, and patron services for NJSO, the state orchestra of New Jersey.
DHR, International has been exclusively retained to conduct a search for a Vice President, Marketing and External Affairs for the New Jersey Symphony Orchestra.
As an integral part of the musical landscape in the country’s most vibrant cultural corridor, the New Jersey Symphony Orchestra (NJSO) continues to enrich lives through a passion for musical excellence and a commitment to New Jersey, its people, and its communities. The NJSO has been recognized by The Wall Street Journal as “a vital, artistically significant musical organization,” led by Music Director Xian Zhang—a “dynamic podium presence.” The New York Times has praised Zhang for her “technical abilities, musicianship, and maturity.”
The NJSO, with a current annual operating budget of $13 million and an $8 million endowment, serves as the resident orchestra of the New Jersey Performing Arts Center with additional performance series in five other outstanding venues throughout New Jersey. With over 140,000 guests attending more than 160 performances each year, and numerous partnerships with arts organizations, universities, and civic organizations, the NJSO enjoys broad support from approximately 3,000 donors and 6,000 subscribers.
The orchestra enjoys a unique collaborative culture between its more than 60 musicians, 50 trustees, and 35-member staff. Its Music Director, President & CEO, and board leadership embrace their roles as fundraisers. A dedicated and experienced administrative team, an engaged and generous board of trustees, a five-year contract with its musicians, and a comprehensive new strategic plan have positioned the NJSO for exciting growth.
At the forefront of addressing diversity, equity, and inclusion within the orchestral industry, the NJSO has built one of the most comprehensive arts education and community engagement programs in the state. The NJSO offers a large variety of programs and presentations, including Concerts for Young People, the NJSO Youth Orchestras, and the NJSO CHAMPS (Character, Achievement, and Music Project), an intensive education program inspired by the Venezuelan social change and music education program El Sistema.
The NJSO has seen significant progress in the early phases of its $50 million comprehensive campaign, having already achieved more than a third of its goal through initial leadership gifts. The campaign will culminate with its centennial celebration in 2022.
SCOPE AND RESPONSIBILITIES:
Reporting to the President & CEO, the Vice President of Marketing and External Affairs (“Vice President”) will be an integral part of the NJSO’s senior management team and is responsible for all aspects of planning, implementing, and evaluating the marketing, public relations, communications, and patron services for the NJSO. The Vice President assumes responsibility for a significant portion of the annual earned income of the NJSO through subscription sales, single tickets, and group sales for the full season of self-presented works at the six partnering venues (New Jersey Performing Arts Center in Newark, State Theatre New Jersey in New Brunswick, Count Basie Center for the Arts in Red Bank, Richardson Auditorium in Princeton, Mayo Performing Arts Center in Morristown, and bergenPAC in Englewood). The Vice President will also work with the presenters and representatives of the various venues to create partnerships that increase ticket sales. Recognizing the shifting paradigm of classical music in the greater cultural landscape, the Vice President will be called upon to inventively drive public engagement, finding new methods of content development and delivery that will motivate and connect people to the relevance music has in their lives, and how the NJSO can play a part. The department is also responsible for the development and implementation of strategically focused marketing and communications plans designed to enhance the institution’s brand both nationally and locally and strengthen the awareness of the products, programs, development, and education/outreach opportunities offered by the NJSO to the general public.
Internally, the Vice President participates with the President & CEO, Music Director, Board of Directors, and other senior staff in charting the direction of the organization. Externally, the Vice President interacts with media and agencies as appropriate.
Specific responsibilities include the following:
Marketing, Communications, and Patron Services Strategy and Leadership:
- Develop a vision for the NJSO’s marketing and sales efforts that communicates the character, ideals, and mission of the organization to a wide range of patrons, new audiences, donors, employees, and other stakeholders.
- Develop, implement, and measure the success of comprehensive marketing, sales, and communications programs that achieve or exceed expected outcomes, especially the organization’s ambitious earned revenue goals. Fully utilize Paciolan (the NJSO’s Patron Service software) and ensure that the marketing efforts are aligned with the development department’s fundraising and stewardship of individual, corporate, government, and foundation donors.
- Create and implement audience development marketing plans, including research on target audiences, market trends, and performing arts/non-profit trends using focus groups, surveys, and industry data.
- Establish and cultivate collaborative relationships with venue partners, industry leaders, board members, media, government and city officials, key business partners, promotional partners, performing arts organizations, and community leaders.
- Establish and maintain company-wide standards for written and graphic communications in printed, verbal, and electronic media.
- Oversee marketing, sales, patron services, public relations and communication activities associated with the NJSO’s productions and public events:
o Manage the creation of season timeline and calendars in consultation with department directors.
o Manage the development and execution of comprehensive subscription campaigns, single ticket advertising, promotions, and publicity plans.
o Manage all graphic design and content marketing for concerts and public events.
o Establish per-concert ticket sales goals during the budgeting process; forecast sales on a regular basis.
o Communicate timely reporting on weekly, monthly, and annual sales activity and trends.
- Implement pricing strategies that maximize earned revenue while ensuring that the NJSO remains accessible to the widest possible audience.
- Continually refresh the image of the organization and ensure that its vision and values are clearly articulated in all external and internal communications.
- Ensure that the NJSO’s messaging is relevant to all of its current and desired constituents.
- Take the lead on advancing the NJSO’s brand locally, nationally, and internationally.
- Maximize and leverage social media to communicate and to extend the commercial potential of the NJSO and ensure positive and engaging interaction.
- Manage, evaluate, and direct the efforts of consultants including telemarketing agencies, direct marketing and digital marketing services, public relations firms, creative services providers, sponsorship liaisons, research professionals, and media outlets.
- Partner closely with the Vice President of Development to ensure subscription, single ticket, and group sales data is properly stored, shared, and utilized to ensure and grow long-term sustained patron support.
- In cooperation with the development department, ensure that the NJSO patrons, sponsors, and funders are recognized and receive the attention and level of services warranted.
- Support the efforts of development and education/community programming through messaging, media opportunities, public relations, and the use of social media.
- Develop and track marketing research to facilitate executive decision making and to ensure effective allocation of resources to maximize earned revenues.
- Ensure that the customer experience, online, on the phone, at the box office, and in the performance halls is at the highest level.
- Support and improve the function of the box office staff that is responsible for ticket sales on site and that staffs the various venues where the NJSO self-presents.
- Lead and plan the work for the Marketing, Communications and Patron Services Department. Exercise supervision and ensure effective management with provision for succession, of the department, which currently consists of 8 full-time employees.
- Oversee an annual departmental revenue budget of close to $4 million and expense budget of $1.8 million.
- Oversee the sales, marketing, public relations, box office, and advertising efforts at the venues where the NJSO self-presents and is presented. Work with venue partners to collaborate on pricing, house scale, and advertising and promotional efforts to drive ticket sales.
- Evaluate Marketing Department staff members’ performance according the goals outlined in the NJSO’s Strategic Plan in a fair and transparent manner on a periodic basis.
- Evaluate, manage, and renegotiate relationships with consulting vendors – telemarketing, direct marketing, digital marketing, public relations, advertising agencies, etc.
- Recruit, train, appraise, supervise, support, develop, promote, and guide necessary qualified personnel and support talent to maintain an organization sufficient to attain objectives and to address current and future needs.
- Develop and monitor budgets for the marketing, sales, public relations, and patron services departments.
- Monitor and report on progress against plan for marketing, sales, and communication plan goals; develop action plans as needed.
- Report progress against plan to the President & CEO, Music Director, and relevant board committees related to the achievement of goals and financial objectives, including budget forecasts.
- Collaborate with the NJSO senior leadership and staff, as well as external agencies and consultants, to achieve successful outcomes.
- Enable staff to take action on behalf of the organization and ensure a healthy and positive working environment.
- Support the efforts and recognize the contributions of the members of the marketing committee of the board.
- Provide leadership, service and motivation to all related departmental areas, relevant committees of the board and volunteer groups.
- Participate in general management of organization as well as special projects and initiatives that advance the institution.
KEY SELECTION CRITERIA:
Potential candidates will have seven (7) or more years of related experience, with a career track that demonstrates increasing levels of tenure and job status from one or more of the following roles:
- Marketing executive in a symphony orchestra, festival or presenting hall that features the classical repertoire.
- A marketing executive from an agency or marketing service provider with a proven understanding of the nonprofit arts field and knowledge of the orchestra repertoire.
- CMO of a related performing arts organization with a home subscription series such as a dance company, regional theater, ballet, or opera company.
In addition, the ideal candidate will possess the following characteristics and experience:
- Demonstrated skills, knowledge and experience in the design and execution of marketing, communications, and public relations activities.
- Strong creative, strategic, analytical, organizational, and sales skills.
- Experience developing and managing multi-million dollar advertising and promotion budgets.
- Experience using Paciolan to manage activities in ticketing, fundraising, customer relationship management, and marketing.
- Substantial experience hiring, training, developing, supervising, and appraising personnel.
- A desire and the energy to achieve ever-increasing quantitative sales goals.
- Knowledge and creativity to use social media to amplify brand awareness to current and new audiences.
- A passion for the art form of orchestral music, coupled with knowledge of and great appreciation for the classical orchestra repertoire.
- A belief in the NJSO’s mission to inspire and engage its diverse community and its vision.
- Proven track record of developing new audiences and customer base.
- An understanding of the performing arts business including touring, working with artists, agents, and related service providers.
- Excellent interpersonal, communication, presentation, and writing skills.
- Bachelor’s degree is required, ideally with an advanced degree in a field related to the position.
PERSONAL / PROFESSIONAL ATTRIBUTES:
- Financial accountability
- Strategic focus
- Attention to detail
- A commitment to continuous improvement
- Ability to manage multiple priorities in a deadline-driven environment
- Impeccable personal ethics
- A belief in and alignment with the NJSO’s values of access and relevance
- A commitment to the marketing and communication profession
- Quality orientation
- Compensation will far exceed industry benchmarks with a benefits package that includes a generous health insurance plan, pension, parking, paid time off, and other employee benefits, as they become available. Relocation (as may be needed) will also be provided.
Please send résumé to:
Apparently, after my story came out, crowds of people started coming in the restaurant, people in from out of town, or from the suburbs, basically just non-regulars. And as the lines started to build up, his employees — who were mainly family members — got stressed out, and the stress would cause them to not be as friendly as they should be, or to shout out crazy long wait times for burgers in an attempt to maybe convince people to leave, and as this started happening, things fell by the wayside.
After they finished lying to her, researcher Danielle Polage asked the students to again rate their certainty that each of these events had or had not happened. Fascinatingly (and a little creepily), subjects showed a statistically significant change in their beliefs, indicating that they became less sure that untrue events hadn’t happened to them after saying that they had. Conversely, when subjects were later asked to deny events that had happened to them, they became less sure that those events did take place.
Kirill Serebrennikov has been charged with embezzlement and faces 10 years in prison. Supporters have compared his trial to the purge of directors during the Soviet Union and the censorship of leading writers under the Tsars. “People of culture have always held the most dangerous position in Russia,” Liya Akhedzhakova, a celebrated actor who starred in Soviet classics like Office Romance, told the Guardian in court on Tuesday. “They are the first to be targeted.”
“We allow our great cultural institutions to fall into disrepair and disrepute because, as we strip them of their reverential traditions and their arduous canon, we also strip them of our reasons to cherish them. We call them before the tribunal of public opinion to justify their very existence, as if we can no longer see through the smog to the heights of Parnassus, lonelier than ever because we have forgotten that it is even there. We attempt to chain the Muses to the machinery of our modern malaise, as if we do not remember that they exist to show us the way to transcend that malaise, to find our way home again, by way of that steep and difficult climb, to the bosom of art and learning.”
Should there be some legislation against the risk that a buyer will effectively or literally destroy a work of art? Particularly one which could be designated a “world treasure”, on a list of the sort that Unesco releases on protected monuments? One that would oblige private owners to make the works accessible within reasonable terms and require them to maintain the work, which could be considered a matter of international interest?
There have been many studies that take advantage of this process, and they bulk out much of the academic literature on the impact and value of the arts. The build-up to this new centre has revealed a critical mass of scholars and artists who have an appetite (and now the opportunity) to do things a bit smarter, with nuance and sensitivity to the richness of cultural experience, that doesn’t simply reduce cultural experiences to mathematical equations.
The economic-development arguments for the arts are as well-worn as they are indisputably accurate, but it is high time arts advocates in Chicago admit that they have not made an effective statewide case. It also is high time for arts advocates in Chicago to admit that so much state arts funding should not be swallowed up by relatively rich institutions in downtown Chicago. It should be for everyone.
Over the past century we’ve vastly increased the time and money invested in science, but in scientists’ own judgement we’re producing the most important breakthroughs at a near-constant rate. On a per-dollar or per-person basis, this suggests that science is becoming far less efficient.
Nearly 40 applicant teams of directors and designers each created a production concept for an opera chosen from a curated repertoire list. Submissions included visions for staging, scenery, props, costumes and required personnel. These are the four team finalists.
The familiar world becomes alien within a single lifespan. In such a world of relentless evolution, art is perpetually in danger of being outstripped, every “realism” of describing a vanished reality. Just as capitalism erases difference to make way for a homogenous global anti-culture, artistic traditions are swept aside, denounced as irrelevant almost as soon as they have established themselves. Today, Ezra Pound’s modernist command to Make It New! sounds like nothing so much as a corporate slogan for Apple or Huawei. Capitalism and the avant garde check each other out from across the room, seeing much to admire.
Musicians began volunteering with 412 in September 2016, when violinist Lorien Benet Hart reached out to the food rescue organization in search of a way for musicians to contribute to the community during a two-month musicians’ labor strike. Since then, she has coordinated with 412 to send different groups of musicians and — starting a few months back — symphony staff members on a run or two a month to help connect good food that would have gone to waste with organizations that put it to better use than filling dumpsters.
“Today, you couldn’t tear down a McKim, Mead & White building. The preservationists wouldn’t let you.” But the firm’s long tenure at the top of the architecture field wasn’t always guaranteed. “They were the Ralph Lauren, the Rolls-Royce of architecture. Then the modern movement started, and boy did they crash. From 1925, when white walls and European modernism began its takeover of architecture, McKim, Mead & White were poison to the profession.”
This Aeon Original video explores that unifying feeling of group ‘electricity’ that lifts us up when we’re enthralled by our favourite sports teams, participating in religious rituals, entranced by music – and, yes, dancing the night away.
Dance/NYC invites applications and nominations for this important leadership position. The next Executive Director of Dance/NYC will work in support of all dance makers across all dance disciplines in the New York metropolitan area. The full position description may be found here: https://mcaonline.com/
Interested applicants should submit all materials requested in the profile document to the consulting firm retained for this search:
Management Consultants for the Arts, Inc
Founded in 2002, Dance/NYC is the voice for New York City’s dance community. Originally a project of Dance/USA, the national service organization for dance, Dance/NYC separately incorporated as a New York State non-profit in 2013. Since that time, Dance/NYC has pursued the following mission:
Dance/NYC’s mission is to promote the knowledge, appreciation, practice, and performance of dance in the metropolitan New York City area. It embeds values of justice, equity, and inclusion into all aspects of the organization. It works in alliance with Dance/USA, the national service organization for professional dance.
Dance/NYC’s programs are focused on four fundamental areas:
- Action-oriented research;
- Technology and visibility;
- Leadership training, networking, and convening; and
- Grant making
The full breadth and depth of Dance/NYC’s activities in service of the NYC dance community can be best appreciated by exploring the organization’s website: www.dance.nyc.
Research is fundamental to all advocacy and initiatives of Dance/NYC. The organization has conducted research and subsequently published reports on topics ranging from emergency preparedness and the impact of Hurricane Sandy on New York City dance to dance workforce demographics to the intersection of dance and disability. A comprehensive archive of all Dance/NYC’s published research is available here.
TECHNOLOGY AND VISIBILITY
Dance/NYC maintains an extensive web presence, most significantly through the organization’s website: Dance.NYC, which documents all Dance/NYC programs. It includes a user-generated community calendar as well as user-generated job and audition listings. Ad sales on the website provide an important source of earned revenue for the organization.
LEADERSHIP TRAINING, NETWORKING, AND CONVENING
Dance/NYC is a regular convener of the New York metropolitan area’s dance community. The largest, a Symposium with over 600 attendees, is the only full-day, annual gathering of the dance field in and around New York City. The organization also conducts regular Town Halls and roundtable discussions focused on emerging field developments and has formed a Junior Committee of dance workers under 30, which is designed to build field leaders.
A relatively new addition to the organization’s programmatic portfolio is a focus on regranting which began with the NYC DanceResponse Fund, established to meet needs in dance following Hurricane Sandy.
Disability. Dance. Artistry., resulting from the organization’s research, is an ongoing program which has funded integrated danceproductions as well as a new residency program in the New York metropolitan area. The initiative has also provided leadership training, networking, and convening as well as a directory of online resources for dance artists. Adapting the disability rights philosophy of “nothing without us,” Dance/NYC has also created a task force of leaders and advocates to advise and assist the organization in implementation of the initiative.
Dance/NYC has brought the same perspectives on research, technology and convening to Immigrants. Dance. Arts., a new initiative aiming to extend the role of dance artistry in fostering the inclusion, integration and human rights of the more than three million immigrants in the New York metropolitan area.
The organization has also established the Dance Advancement Fund, which supports innovative dance makers operating with budgets between $25,000 and $1 million. Most recently announced is the establishment of the New York City Dance Rehearsal Space Subsidy program, which will provide access to discounted rehearsal space to dance artists across the New York metropolitan area.
JUSTICE, EQUITY, AND INCLUSION
At the core of Dance/NYC is a belief that nurturing a just, equitable, and inclusive dance ecology is an essential mission that can make a meaningful contribution to social progress. The organization envisions a vibrant, sustainable dance ecology wherein power, funding, opportunities, conduct, and impacts are fair for all artists, cultural workers, and audiences.
The next Executive Director will join an organization with an impassioned, mission-driven staff and a dynamic board/committee/task force structure. Dance/NYC is financially stable and well-positioned as the representative of the dance field with regard to key stakeholders, government agencies, and the New York metropolitan area funding community.
Opportunities and Challenges for Dance/NYC, and by extension for the next Executive Director, include the following:
- Provide strategic direction in the creation of a future vision for Dance/NYC that reflects the organization’s core values and the needs of the dance field, supporting all dance makers across all dance disciplines, in the New York metropolitan area.
- Be responsive to the varied and changing needs of the dance field in the New York metropolitan area to provide services that are both broad in scope and meaningful in effect.
- Fundamental to Dance/NYC’s service role is its commitment to advance racial justice as well as equity, inclusion, and access for others such as the immigrant and disabled communities. The organization seeks to implement enduring ways to address the dominance of white culture in dance and to amplify the voices and autonomy of the African, Latina/o/x, Asian, Arab, and Native American (ALAANA) community. A comprehensive overview may be found here.
- Continue to connect the organization (and by this, the field) with decision-makers in both the public and private sectors with regard to policy and funding initiatives that affect dance artists.
- Further establish operational procedures and systems to ensure effective work flow and create a learning organization which engages, supports, and retains employees.
- Strive to expand Dance/NYC’s network of partners to create new inroads into dance communities not currently served (or currently underserved) by the organization.
POSITION AND RESPONSIBILITIES
The Executive Director is the chief strategist, spokesperson, fundraiser, and financial and operations officer for Dance/NYC. The Executive Director reports to the Board of Directors. Primary roles include:
- Strategy: work with the Board of Directors and advisory committees of industry professionals and staff; create organizational strategy and policy; and set direction and ensure adherence to the organization’s mission.
- Spokesperson/Public Engagement: represent Dance/NYC to its constituency, to City and State government, to the media, and to the nonprofit sector; create and present policy testimony as needed; build and maintain organizational partnerships and collaborations; participate in mission-related committees; and provide editorial leadership for all organizational communications.
- Program: establish direction and provide oversight for core organizational programs, including advocacy, research, convening, and information technology; initiate new programs as appropriate; and implement research agenda.
- Fundraising: lead fundraising (government, institutional, individual), personally soliciting various sources and utilizing the contacts and collaboration of the Board of Directors.
- Fiscal Management: develop short and long-term financial strategies including managing earned income strategies (via website, Symposium), manage budget processes, and supervise all financial systems and internal controls.
- Human Resources: manage staff; spearhead and implement human resource systems for the organization, including hiring employees and conducting personnel performance reviews; and ultimate staff authority over independent contractors.
- Collaboration with Dance/USA: cultivate a strong working relationship with Dance/USA, the national service organization for dance.
Ideally, the successful candidate for this role will possess these skills and experience:
- Deep commitment to the dance world broadly and well prepared to lead within the New York metropolitan area dance community with an open-mindedness and curiosity to more deeply understand all of Dance/NYC’s constituents.
- Credibility to serve as an authoritative voice for dance to the field at large, civic leaders, public officials, and dance funders, among others.
- A demonstrable commitment to advancing justice, equity, and inclusion and a track-record of integrating a sophisticated justice analysis into programmatic and operational aspects of an organization.
- Exceptional communication skills, both speaking and writing, allowing the incumbent to be a credible representative for the dancefield and the art form.
- A successful track-record in staff leadership and management including both establishing policies and procedures, and managing staff with a transparent, collaborative, and confident leadership style.
- Skills in developing and executing effective budgets aligned with strategic objectives.
- Leadership skills to work effectively with the Board to engage and develop directors individually and collectively.
The following personal attributes will also be considered important:
- High emotional intelligence and an ability to build relationships of trust.
- A strong desire to play an active role in the dance community of the New York metropolitan area, embracing its complexity, diversity, and opinions.
- Strategic, positive, energetic, and forward-looking.
- Innovative problem-solver.
- Disciplined, effective leadership and management of people and resources.
DANCE/NYC RECRUITMENT STATEMENT
Dance/NYC values justice, equity, inclusion, and diversity at all levels of its organization, including its Board, committees, task forces, and staff. Diversity in this context refers to groups and individuals identified by, for instance, race, color, sex, gender, sexual orientation, age, disability, status, religion, national origin, marital or partnership status, ancestry, political belief or activity, or status as a veteran. To foster the values of justice, equity, inclusion, and diversity, Dance/NYC seeks participation on its Board, committees, task forces, and staff from individuals who share and hold these values and reflect the diversity of the metropolitan New York City area, with a focus on African, Latina/o/x, Asian, Arab, and Native American (ALAANA) participation and disability and immigrant representation.
COMPENSATION AND START DATE
The search for the Executive Director is headed by a committee consisting of trustees and other members of the New York metropolitan area dance community, chaired by Martha Newton and Linda Shelton. Dance/NYC hopes to make its decision in early 2019 with the successful candidate onsite soon after. The salary and benefit package for this position will be competitive with other non-profit service organizations of comparable stature and size.
HOW TO APPLY
David Mallette and Jason Palmquist are the MCA consultants leading this search. To be considered for this position, you must submit pertinent information and attach a current résumé, a cover letter (no more than 1 ½ pages), and four professional references using the online application system: https://mcaonline.com/
The ubiquitous use of ‘intellectual property’ began in the digital era of production, reproduction and distribution of cultural and technical artifacts. As a new political economy appeared, so did a new commercial and legal rhetoric. ‘Intellectual property’, a central term in that new discourse, is a culturally damaging and easily weaponised notion. Its use should be resisted.
As we attempt to grapple with this bleak post-human future, we must also confront the question of what humans can hope to understand. Parts of the physical world are understood. They can be observed and described by theories—but much of it cannot. Human observation bumps up against stark limits. Human reasoning is not limitless either, but it does allow us to think through what might in principle be “over the horizon.”
“I work best on commission. I work best when the situation is the opposite of when someone says ‘Do whatever you want.’ I’m not a fan of that situation. I don’t want. My job is not to want. My job is to be, so it’s a good situation when I can bounce back to other people’s minds, and listen to other people’s thoughts. I love to be proved wrong.”
If the most polarized population uses the Internet and social media the least, to suddenly point a finger at technology says more about our anxieties about the rate of technological change than about what has actually happened to us. The fact is that this twenty-two-year-old dynamic of polarization can’t easily be associated with the Internet.
With research increasingly open to the public, scholars can’t expect readers to know who everyone is and which journals are reputable. Blockchain can offer additional information and reassurances about the review process. Today that level of trust is primarily an asset of the corporate publishing oligarchy. Blockchain might democratize it.
The man, who had been seated in the balcony, began shouting “Heil Hitler, Heil Trump.” Immediately after that, “People started running,” audience member Rich Scherr said. “I’ll be honest, I was waiting to hear a gunshot. I thought, ‘Here we go.’ ”The man was escorted out a few minutes later and the show continued.
Nathaniel Kahn’s documentary poses the question “What is the relationship of art to money?” to a handful of prominent figures in the contemporary art world, including richer-than-god Koons, Sotheby’s chairman Amy Cappellazzo, self-styled populist critic Jerry Saltz, and the painter Larry Poons. Their answers, while often brazen, land ambivalently, creating an incomplete portrait of an art world that seems completely resigned to the status quo.
Keep talent busy was just one of the lessons I took from Lee’s example. A second, but equally important lesson, was don’t censor talent. Lee preferred to let his talent sort out the creative details. He remembered working on a comic strip that used the word pogo stick in the punch line. The editor felt that pogo stickwouldn’t resonate with rural audiences, and he instructed Lee to change the gag so that the punch line had the word roller skates instead. It deflated the joke, but Lee changed it anyway. The strip was eventually dropped, and Lee said, “this type of censorship, to me, is almost indecent.” When you hire an artist to do a job, you let them do the job. Lee elaborated, “It seems to me that if a person is doing something creatively, and he feels that’s the way it ought to be done, you’ve gotta let him do it.”
He has been anointed—and travestied—as the ideal of the modern artist, even by those for whom art, modern or otherwise, is at best a diversion and at worst a scam. Everybody knows about the cutting of his ear, or cracks cruel jokes about it. His name is as famous as that of Picasso, but Picasso has been mythologized as a monster of control, whereas van Gogh, it is agreed, lay at the mercy of the uncontrollable.
“Chop Suey” was among the marquee collection carefully curated by Seattle-area luxury-travel magnate Barney A. Ebsworth, who had promised in 2007 to give the painting, along with 64 other works, to SAM. But Ebsworth died in April, and about 100 pieces from his collection — including “Chop Suey” — went to Christie’s. On Tuesday, sales from that auction totaled $317.8 million, above Christie’s low estimate of $261 million. The auction continues Wednesday.
That transformation, from facts to numbers to data, traces something else: the shifting prestige placed on different ways of knowing. Facts come from the realm of the humanities, numbers represent the social sciences, and data the natural sciences. When people talk about the decline of the humanities, they are actually talking about the rise and fall of the fact, as well as other factors. When people try to re-establish the prestige of the humanities with the digital humanities and large data sets, that is no longer the humanities. What humanists do comes from a different epistemological scale of a unit of knowledge.
Tim Smith, who has been at the paper for 18 years, is retiring. It’s unclear whether the paper will replace him. Smith says he’s leaving in part because the nature of the job has changed.