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Sarah Lutman amplified

What’s fear got to do with it?

In 2014 the Wyncote Foundation commissioned Lutman & Associates to research digital adoption by legacy cultural institutions. The resulting study, Like, Link, Share: How cultural institutions are embracing digital technology, showcases the awesome creative work of 40 cultural organizations and shares common themes and lessons learned among these leading practitioners.

When I spoke about the report at conferences and meetings, arts leaders’ responses were frequently that they knew they “should be” engaging digitally, but they feel overwhelmed about beginning. Surprisingly, the most frequent response from arts leaders was not excitement, but instead fear. Fear of missing out. Fear of getting started. Fear of not knowing what to do after beginning. Fear of making mistakes. Fear of not having enough time or money. Fear of incompetence. Fear of adding more stuff to do on top of already busy jobs.

We were intrigued by the intensity and consistency of this reaction and wanted to provide support. As a result, discussions with Wyncote led them to commission Wayfinding and Wandering: Navigating the Digital Engagement Landscape, or Wanderway, for short.

Launching this week, Wanderway is a free online course in seven parts, designed to walk users through the necessary steps toward creative and sustainable digital engagement. The goals of the course are to provide encouragement, build confidence, and offer useful tools and know-how so that arts organizations, artists, and creative small businesses can connect with, engage, and serve more people in the ever-evolving online environment. It is designed with the resource-strapped in mind.

Wanderway is a different kind of course.

Wanderway focuses on engagement and relationship-building. It aims to help you expand your reach and develop substantive interactions with fans, allies, and collaborators using the wide range of digital tools available today. These transformative possibilities are available to those who overcome their fear of digital technology and commit to the process of learning new tools and ways to connect.

There are plenty of courses available that provide technical knowledge and skill-building exercises, such as the Google Analytics Academy, or courses available through Coursera or Khan Academy. Many are written with the assumption of a higher level of basic knowledge and experience on the part of the user.

Also, most existing online courses target sales and marketing objectives – using digital tools to get more money, more transactions. Wanderway was created with the belief that while more contributions or ticket sales can be a by-product of digital engagement, they are not the goal. Engagement can be significantly more meaningful and have greater impact if audiences are treated as conversation partners and collaborators rather than customers and consumers.

Digital engagement as creative practice

Wanderway addresses the emotional life of digital practitioners by approaching engagement as a creative practice. In creative practice we begin, try things, learn, and start again. A beginner’s mind is a necessity and a strength, not a liability. Creative practice expects “mistakes”—they’re part of the process. Iteration is constant. It’s how we learn. And fear is something most artists and creative workers know a great deal about because it is their constant companion.

Fear doesn’t stop the creative artist. Or as poet Carolyn Forche puts it, “Courage does not mean you are not afraid; courage means a door opens and you walk through.”

So, open the door and walk through

Wanderway invites your participation. We also invite your feedback. Please check out the course, try the exercises and reflections, read the interviews, and, if you like it, share these resources with others.

Thanks to the amazing collaborators who built the course with me: Beck Tench, independent educator, writer, speaker, and practitioner, whose work explores creativity and experimentation in digital engagement; and Jessica Fiala, company member of Ragamala Dance Company, independent scholar, and colleague.

We’ve had a lot of fun packing the course with tools that are free and accessible to anyone, and getting to know the dozens of artists and organizations whose work we feel privileged to highlight.

Be the orchestra: thinking far beyond putting concerts online

Recently I went on an excursion with staff from Philharmonia UK, the London orchestra founded in 1945.  The Philharmonia was then in week twelve of its thirteen-week iOrchestra project that engaged residents of rural south-west England in large-scale digital installations created to encourage exploration of orchestral music in very new ways. The installations travelled in three regions, and in each of them, the Philharmonia also scheduled a free live orchestral concert. In the months preceding, Philharmonia sought out local music, education and civic leaders and organizations as collaborators. iOrchestra’s goals are not only to provide deep arts experiences in local communities, but also to help strengthen local networks of people engaged in community-building through music.

The installations themselves were customized specifically for this summer’s project. MusicLab is cleverly built into a shipping container and outfitted with hands-on learning activitiemusiclab1.s for participants of all ages (mainly focusing on school groups and families with children). MusicLab’s multiple activity stations offer participants the experiences of composer, performer, producer, and conductor. Visitors can record themselves singing tunes of increasing complexity, try one of four instruments while being coached through video exercises featuring Philharmonia players, watch and listen to video segments of films featuring orchestral music, and work in teams to create layered soundscapes based on samples of all the notes that specific orchestral instruments can produce.

The day I visited MusicLab it sat on the edge of a very green park in Bodwin, Cornwall (population 14,700) and was full of a class of 30-odd boisterous elementary school children. They didn’t need help figuring out what the Lab elements were for, diving in to try everything with the energy children bring to new toys. Philharmonia education staff were ready to help if needed, and when the hour-long visit ended they led the group in a conversation about what was learned. Participants each got a location-sensitive badge to use when they returned; the badge gives information about how to log into the iOrchestra website to register and engage further. Those who register are eligible for prizes for further music experiences, and of course the data provided is helpful to the Philharmonia’s staff as they learn how participants use the digital tools and experiences. Many children come back multiple times after an initial school visit.

The Lab is relocated every week or two, pulled by a semi-rig to a new village. While parked it’s open six days per week; admission is free. Philharmonia prepares for the Lab’s visits through outreach to community organizations, schools, and through traditional media, informed by a detailed audience engagement plan (it weighs in at over 100 pages). It’s well worth mentioning that all the Lab’s interfaces, exercises, and graphic elements are elegant, open-ended, and self-explanatory platforms for exploration and learning.

Later that afternoon we traveled to Truro, a drive of about 30 minutes. Truro is a larger town. It’s the main shopping destination for Cornwall, and is home to a 19th century cathedral and charming downtown area where Cornish pasties, fish and chips, and fresh local ice cream are serious temptations. Smack in the middle of the town square Philharmonia had erected an enormous shapely tent and within it located a creation called “re-rite,” a media installation based on a video-captured studio performance of The Rite of Spring.

To describe re-rite is challenging.  It’s Philharmonia’s effort to help visitors “be the orchestra” – to step inside the orchestra as it is performing and experience the orchestra as the musicians do, physically and viscerally. Philharmonia calls it “a huge walk-through digital experience,” and “a musical journey.”

photo (9)Picture this. The white tent’s outer skin is taut and within it is a maze of large “rooms” separated by porous cloth “walls” that also are projection surfaces. It’s dark inside – blacked out. Each room is dedicated to a different instrument or instrument family – seven monitors and twenty separate projections in total. There are speakers everywhere.

Once the installation is activated, the orchestra tunes up and the performance begins.  Philharmonia players of each instrument family appear before you, projected larger-than-life within the distinct rooms. Wandering around the rooms, you can hear the entire orchestra, but the instruments you’re nearest are also the loudest, as though you are seated with that section. In front of each instrument family there’s a music stand (with light stands of course), several chairs, and the score for that instrument. Visitors can sit and listen, but also are encouraged to follow along with the score or even to bring their own instruments and play along (which people do). You also can don the tails set out next to the conductor’s podium and score, and conduct along with Esa Pekka Salonen, while watching yourself live on camera.

Visitors also can watch the performance on two video monitors while listening through headphones, each with a talk track. In one, musicians comment in real time about what it is like to play the piece. “Just think of running 100 yards as hard as you can, and while you’re still short of breath, holding a teacup – that’s what this passage is like,” says one. “We follow Andy here,” says another. “We watch Andy and then we play. That’s what I’m doing.” In the other video, Esa Pekka Salonen offers his own talk track, describing what he is thinking and feeling while conducting the piece. “When I think of my conducting since I started more than 30 years ago, the trajectory has been really simple: I do less and less. It’s one of the problems with being a young conductor. You don’t really trust the players because you don’t quite trust yourself so you’re conducting too much,” he says at one point when his movements are constrained and much is being accomplished through eye contact.

photo (10)The installation is as beautiful as it is absorbing, and in the best possible way – you don’t notice time passing. Once the piece is over, the loop begins again. The orchestra tunes, and they’re off and running. In Truro, re-rite ran on continuous loop many hours per day, open and free to the public

I was there for the Truro opening when Loic Rich, the town’s mayor, said this about the experience. “The Rite of Spring’s pagan orientation resonates here in Cornwall and as I saw the images, heard the music, and walked through the tent it reminded me of Stonehenge or Avebury. It seems so appropriately connected to our landscape.” Moragh Brooksbank, of the Arts Council England South West spoke next. “This project is dazzling in its scope and scale. We have an international orchestra working at the most local level. This exemplifies our goal of great art for everyone and shows how we can use digital to spread a love of the arts.” The Philharmonia offered free shuttle service in the region so people who needed transportation could experience re-rite.

I’ll be writing more about the Philharmonia’s adventurous media efforts, how they’re imagined, structured, funded, and sustained. But in the meantime, check out the iOrchestra project on-line, follow the project @iOrchestraUK and if you can, go to a future installation and be the orchestra.

Congratulations to Esa Pekka Salonen and the musicians of the Philharmonia for this intriguing work, and for their eagerness to create it. Can we experience these installations stateside soon, please?

 

 

 

Practicing extreme transparency: Why does your “About Us” section have to be so boring?

Entrance to Walnut Creek's maintenance yard

Entrance to Walnut Creek’s maintenance yard

As part of a major project I’m working on with the Philadelphia-based Wyncote Foundation, I’ve been spending a lot of time on the websites of cultural organizations; looking at their apps, social media projects, and other digital channels; visiting them to see projects first-hand; and talking with them about the capabilities and resources needed to do the work.

In the course of this research I’m engaging with interesting people and seeing a lot of terrific work and so I’ve decided to start blogging about it, in part to engage all of you in the journey. (Besides, maybe you can help.)

First up is an example of extreme transparency on the business side of a cultural enterprise – at least by the standards of U.S. cultural nonprofits. It’s easily discoverable on the website of the Tate in England. An early and persistent leader in all-things-digital (more on that another time) the Tate’s leaders also are modeling their explicit strategy of creating “a digital dimension to everything we do” by doing something other organizations could do, but most don’t. The Tate has created a transparent and content-rich “About” section of their website. It even looks good.

I won’t recount all the things that are there, just a few highlights to entice you to look around for yourself.

Try these for appetizers:

  • Board minutes going back to 2009
  • Information about how to become a Board member
  • Interactive organizational charts with bios of people in leadership positions and their salaries
  • Position papers, existing and historical, on topics like digital strategy and diversity strategy
  • A digital metrics dashboard with updated monthly results
  • Research and evaluation reports across all departments and activity areas, like this report on understanding visitors’ use of the on-line collection and this section on research-in-progress throughout the organization
  • A link to this interesting archive of the Tate’s websites going back to 2004

Organizations of every size have all kinds of enterprise information they’ve never catalogued for sharing with the public. In fact a lot of website sections called “About Us” are a sort of corporation yard that is both disorganized and ugly. I speak from experience, having combed dozens of these sections over the years for a variety of purposes.

Interactivity depends on openness and transparency – on offering ideas, processes, and information substantive enough to make interaction worth it for the participant. If you’re a leader reading this, what’s stopping you from pursuing radical transparency and reaping the benefits of deeper engagement and interaction with the public, and with policymakers, researchers, and funders?

I asked John Stack, Head of Digital at the Tate, about this. “In terms of advancing our digital strategy across the Tate, we thought we should model the needed behaviors.” Bravo.

Know of other interesting examples? Would love to hear about them.

 

 

 

New digital culture report from Media Impact Funders

mif_placemat-final (1)

Late last week Media Impact Funders (MIF) released a report I helped create titled Molto + Media; Digital Culture Funding.  The report consists of data MIF commissioned from the Foundation Center documenting private sector giving to cultural organizations in the U.S. for media purposes, and nine profiles of organizations doing exemplary digital media work.

It’s great that media funders are exploring the increasingly blurred line that once divided media and cultural organizations. In prior generations, cultural organizations needed “the media” to write about, broadcast, and serve as vehicles for advertising and marketing their work. Today, artists and cultural organizations can do all these things themselves. We’re probably at the tip of the iceberg when it comes to the unleashing the potential of cultural organizations to use media capabilities. Media Impact Funders is out to convince other grantmakers to learn more about why they should help.

The report’s good news is that private sector giving to digital culture is already increasing. Media grant spending to cultural institutions increased from $18.9 million in 2009 to $26.7 million in 2011, and the number of grants increased from just below 150 to more than 200 over the same time period. Museums received the largest share of digital media grants to cultural organizations, and orchestras the smallest.

One of my roles in the report was to help identify and profile the nine organizations featured. That gave me the opportunity to interview people involved in building digital media capabilities, and to learn about their challenges and results.  In choosing the organizations to profile, we asked for nominations from leading funders and also did our own research. We chose organizations that had big budgets and much smaller ones, and that represented a range of geographies and arts disciplines. We also wanted to profile multi-million dollar efforts and ones that are very low cost. We were not trying to be comprehensive or even representative. But we are trying to start a larger conversation about what private sector funders are doing in cultural media and whether it’s enough.

Themes emerged that were common to the otherwise disparate group of organizations.

  • Sharing is a defining element of media today. But securing rights to share completed and in-progress works of art, whether performances, visual artworks, or text, can be cumbersome and expensive.
  • U.S. arts groups lag global colleagues from countries and regions, like the E.U., that have prioritized and deeply funded open content projects.
  • Opening up curatorial and production processes can be challenging to curators, directors, and producers whose role in organizations has been authoritative, not facilitative. Public interaction around content creation and curation challenges traditional definitions of these “expert” roles in organizations.
  • Artists are using interactive tools in resourceful and inventive new ways, directly engaging with people, and bypassing traditional channels of marketing, distribution, and fund-raising. This in turn is challenging the roles that organizations once served in these realms.

What’s compelling about the work? Old notions of cultural production and distribution are being transformed by easy access to digital platforms for public engagement — and people’s compelling urge to share what they “like.”  Right in their pockets, hundreds of millions of people carry the tools to design, record, compose, draw, film, photograph, listen, curate, edit, critique, and share.  Creative organizations and individual artists can build capabilities that foster reciprocal relationships, stimulating creativity and building an engaged community of “fans.” Cultural institutions are gaining a broader public purpose, as platforms for this engagement. Art wins because more people are making it, sharing it, and talking about it.

MIF showcased the new report at a gathering for grantmakers and cultural organizations at the Curtis Institute of Music on Saturday night. Beyond Curtis, whose first attempts at on-line course offerings have drawn nearly 50,000 enrollees, the groups profiled are the Children’s Theater Company (Minneapolis),  Fractured Atlas, The J. Paul Getty Trust, On The Boards, Opera Philadelphia, Sundance Institute, Trey McIntyre Project, and WQXR.  I hope you will take the time to read about their work and share your thoughts.

Sarah Lutman

I am a Twin Cities-based independent consultant and writer working with cultural, philanthropic and public media organizations across the United States. You can read my entire bio on LinkedIn or read about current clients and projects on the Lutman & Associates web site.

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