• Home
  • About
    • Jumper
    • Diane Ragsdale
    • Contact
  • AJBlogs
  • ArtsJournal

Jumper

Diane Ragsdale on what the arts do and why

Slow Food: a model for the arts and culture sector?

Capay heirloom tomatoes at Slow Food Nation

In 1986, a McDonald’s opened near the historic Spanish Steps in Rome. It was the inciting incident that prompted culinary writer Carlo Petrini to launch Slow Food, a grassroots movement and counter-revolution to the fast food industry, which had ‘revolutionized’ dining beginning in the early twentieth century. I’ve been wondering the past couple years whether the ‘high arts’ sphere in the US might benefit from modeling some of Slow Food’s strategies. For example:

  • Through festivals and events, Slow Food connects everyday people (not just ‘major donors’ or ‘underserved youth’) directly with the farmers and artisans from their community because it believes if you have a relationship with your local poultry farmer, and understand how he raises his birds, you may be more likely to give him your business rather than Tyson.
  • Slow Food knows that many taste buds have become accustomed to fast food so it helps adults and kids reawaken their senses and study all aspects of food by offering Taste Education events that are an integral and enjoyable aspect of what they do (as opposed to supplementary and pedantic, patronizing, or cursory). 
  • Slow Food values what you do in your own kitchen as much as what Alice Waters does at Chez Panisse. It tries to encourage (rather than ignore or dismiss) your inner Alice Waters.  Slow Food restaurants are but one component of a comprehensive strategy for changing the relationship between people and food. 

Indeed, to fight the impact of big agribusiness Slow Food’s primary strategy was not to open upscale restaurants and send out brochures announcing: “A world-class meal featuring olive oil-soaked ladotiri cheese from Greece, lentils from Abruzzi, sausages made from Sienese wild boar raised in Tuscany, and a dessert featuring Vesuvian apricots – $140 per person.”

If it had, one can imagine the implicit message to the people tossing the brochure in the trashcan on their way to grab a burger at the diner on the corner might have been: “We think you will probably feel more comfortable eating somewhere else.” 

Here’s what I see:  Plenty of Boomers and others who have ‘no time’ for the ballet are spending plenty of time growing their own herbs; browsing farmers markets, buying organic cheeses, artisanal breads, and heirloom fruits and vegetables; and preparing gourmet feasts in their Viking-stove-equipped kitchens. Others are spending the equivalent of tickets to the ballet (in time and money) dining at Slow Food restaurants. While it’s hard to know how much of this gastronomic enthusiasm can be credited to Slow Food (as opposed to other factors), the list of accomplishments on its Web site would appear to indicate that Slow Food is making headway with its revolution through food.

Can we say the same about the ‘arts and culture sector’ – particularly the ‘high end’ of it? We’ve created more organizations, but have we brought more people over to the arts cause? And what is our cause, anyway? If, like Carlo Petrini in 1989, we are faced with the difficult reality that there is declining appreciation for what we do, might we need to focus our efforts on changing the relationship between people and art? If so, can the arts achieve that goal with its current strategies?

Heirloom Tomatoes Image available under a Creative Commons license, found at Wikimedia Commons, & originally posted to Flickr by mercedesfromtheeighties at http://flickr.com/photos/51314692@N00/2812518700.

Follow Us on FacebookFollow Us on TwitterFollow Us on RSS

@DERagsdale

Tweets by @DERagsdale

Recent Comments

  • Andrew Taylor on On a Strategy of Indeterminacy: Or, the Value of Creating Pathways to the Unforeseen: “Love this line of thinking, Diane! Although I also wonder about the many small, safe-to-fail ways you could explore randomness…” Feb 21, 22:54
  • Rick Heath on On a Strategy of Indeterminacy: Or, the Value of Creating Pathways to the Unforeseen: “Thanks Dianne Compelled and confused! (Not for the first time, and not entirely because of your words, but somewhat because…” Feb 5, 07:20
  • Diane Ragsdale on On a Strategy of Indeterminacy: Or, the Value of Creating Pathways to the Unforeseen: “Hi Ella! Thanks so much for taking the time to read and engage with the post. Thank you for reminding…” Feb 2, 18:19
  • Diane Ragsdale on On a Strategy of Indeterminacy: Or, the Value of Creating Pathways to the Unforeseen: “Caroline! Thanks so much for reading and sharing reflections. I am compelled by your idea to have an entire college…” Feb 2, 18:18
  • Diane Ragsdale on On a Strategy of Indeterminacy: Or, the Value of Creating Pathways to the Unforeseen: “Margaret, Thank you for taking the time to read and comment and for the warm wishes for my recovery. I…” Feb 2, 16:57

Archives

Subscribe to Jumper by Email

Enter your email address:

A Few Things I’ve Written

"Surviving the Culture Change", "The Excellence Barrier", "Holding Up the Arts: Can We Sustain What We've Creatived? Should We?" and "Living in the Struggle: Our Long Tug of War in the Arts" are a few keynote addresses I've given in the US and abroad on the larger changes in the cultural environment and ways arts organizations may need to adapt in order to survive and thrive in the coming years.

If you want a quicker read, then you may want to skip the speeches and opt for the article, "Recreating Fine Arts Institutions," which was published in the November 2009 Stanford Social Innovation Review.

Here is a recent essay commissioned by the Royal Society for the Encouragement of the Arts for the 2011 State of the Arts Conference in London, "Rethinking Cultural Philanthropy".

In 2012 I documented a meeting among commercial theater producers and nonprofit theater directors to discuss partnerships between the two sectors in the development of new theatrical work, which is published by HowlRound. You can get a copy of this report, "In the Intersection," on the HowlRound Website. Finally, last year I also had essays published in Doug Borwick's book, Building Communities Not Audiences and Theatre Bay Area's book (edited by Clay Lord), Counting New Beans.

Categories

  • artistic home
  • artistic processes and practices
  • Artistic Standards & Quality
  • arts and the pandemic
  • arts conferences
  • Arts Education
  • arts facilities
  • Asymmetric power dynamics
  • beauty
  • book recommendations
  • community
  • creative leadership
  • cultural leadership
  • Democratization of Culture
  • Economic Impact Studies
  • engagement
  • entrepreneurship
  • ethics
  • Funder Jargon
  • Innovation
  • institutionalism
  • interdependence
  • intrinsic value
  • leadership
  • nonprofit model
  • nonprofits and information disclosure
  • philanthropy
  • Pricing
  • purpose
  • subsidization of the arts
  • succession planning
  • Supply/Demand
  • sustainability
  • Uncategorized
  • Undercapitalization
Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license