Archives For definitions

Show of hands: who would be significantly unsettled, if not be completely terrified, by the idea of handing over your organizational social account to stranger for a day? Login, password, the whole kit and caboodle?

I’m not saying this is you, current hand raiser, but I was reminded that this is still viewed as a highly risky digital-based audience engagement strategy. Why? Because in the end we in the arts are more concerned about maintaining control than we are about engagement.

13698055_10209328921352477_3418008333301346286_oLast week I had the pleasure of running a session (twice) at the Arts Marketing Association U.K. conference I cheekily call “Eff-Up the Pop-Up” (first iteration developed at NAMP). It’s targeted toward arts managers interested in interacting more meaningfully with current audiences and/or audiences “inclined toward coming through the door.”

The session was developed on these assumptions:

  • We get stuck in habits of practice.
  • We don’t approach our work creatively, like artists.
  • We interact with audience as a monolithic whole, not as collection of individuals with different behavior patterns.
  • We adopt audience engagement programs and practices, and deploy them regularly, without analyzing whether they’re right for the artist, artwork(s), types of engagers in our audience, or the impact we want to have.
  • We want to be in control more than we want to engage.

I shared with attendees that our jobs are to consider how we can develop a sweep of activities that would more intimately entangle the art, audience, and artist (which includes the producing or curating organization). Every artwork presents us with a new opportunity; we need to consider how to develop a number of new entry points for different types of engagers to entangle themselves. We can do this by “effing-up” strategies used before, but keeping in mind who we want to engage and the impact we are interested having this time around. But what we can’t do is control the outcome, we can simply create the platform (or platforms).

I gave an example before we moved into the practical “effing-up” section of the workshop. And this is where unconscious prioritizing of “maintaining control” surfaced.

CA4MsXsU8AAYJRa.jpg

My words illustrated by Carolyn Sewell

My example: I gave a 30-min talk for CreativeMornings/DC in February 2015 around the theme “Climate.” My thesis: changing the climate in the room, in a theatre. During my talk I was allowed (after much conversation with the organizers) to engage the attendees in a basic participatory experience. It involved Rock-Paper-Scissors and Thumb Wars, and the Prologue to Romeo & Juliet. (My colleague Wyckham Avery and I have since gone on to refine and use this in multiple workshops–it’s so much fun!) But if we look at this from a work of art framework, this was participation embedded within the performance itself (my talk). Not an activity designed to more intimately entangle the audience with me, CreativeMornings/DC, and theatre.

So I created an engagement program that was an “eff-up” of Twitter take-overs. It was an expression of my interests in integrating audience into performance,  creating performance on social, and changing the climate. I handed over dog & pony dc‘s Twitter account to the 150-ish people and told them it was their’s for the next 24-hours. From my speech notes:

We are inviting you to the task to interrupt a ritual, take a picture, and post it. Invest in make believe, take a picture, and post it. Challenge our followers to do something that involves one of these tasks. The agency is yours. Do with it what you will. We trust you.

Like any live performance, the great CreativeMornings/DC Twitter experiment was ephemeral. You can’t document continual changes to profile and cover pictures and organization description, but this Storify captures some of what occurred.

That was the example I gave at my AMA conference session about how to “eff-up” an audience engagement strategy (Twitter Takeover) that’s also a commonly deployed marketing strategy. (See here. And here.  Two random Google search results.)

Questions from my AMA session attendees arose immediately: How could I do this? Did anything go wrong? What if something bad happens?  Me: Like what? Them: Like someone says something inappropriate? Me: Like someone posts a video [raises middle fingers and fake says string of expletives]?

This is what stops us, right? Fear of something going terribly wrong. And, to a small extent, rightfully so. There’s this story which I read a few weeks before giving my CreativeMornings/DC talk in 2015 full of people posting “innocent” but IMHO foolish statements and pictures on social, and then be severely and continually punished. Or consider the confused reaction on social of Beyoncé fans after Lemonade was released. Poor Rachel Ray was never “Becky with the good hair” but she definitely got a lot of shade thrown her way. However: these are examples of the Twitteratti or fans gone wildly  negative, not examples of arts organizations intentionally and creatively using social to involve digital engagers.

Don’t get me wrong: I’m not advocating for anyone to do what dog & pony dc and I did. It was right for me/us on that day.

But engagement is a two-way street. If you aren’t trusting your audience, they aren’t going to trust you. If you aren’t providing agency to most or all of them, seeking to actively engage them how they prefer, then only the few who are already engaging will continue to do so. The rest will never move from their current relationship level with you.

You, like some of the AMA conference attendees, might look at my CreativeMornings/DC Twitter experiment example and say “I could never do that.” Well 1) maybe that’s not the strategy for you; 2) maybe you could in a different format. But don’t make it an end stop, make it a point of departure. An inspiration.

Seth Godin recently wrote about the difference between objections vs. excuses. He suggests that people make objections because there’s something in the way of them saying “yes” and if they can get around it, then s/he can progress. “An objection is an invitation, a request for help in solving a problem. Excuses, on the other hand, are merely fear out loud.”

To Godin’s differentiation I respond: right on! If we are committed to engagement, committed to breaking out of our habits of practice, we have to break our habits of maintaining total control. So object, and then seek a creative solution with others that provides agency to your audience. This is what’s going to move us all forward toward more intimate entanglements between art, artist, and audience.

My first encounter with Peggy McIntosh‘s concept of “the invisible knapsack” was in 1999. I was 23 years old. I had just moved to Washington, DC a few months prior to work at Arena Stage in the education department (a two person plus an intern office at that time). We were to work closely with Living Stage Theatre Company, seek alignment between the “two organizations” (not really separate since Living Stage was a part of Arena but that’s another story). The entire staff at Living Stage and the education department went through an intensive, multi-day anti-racism/anti-oppression training with the great Rebecca Rice and Erika Thorne. I contextualize because it was a gift I thank the universe for every day.

It was the first time I became aware of the reality of systemic racism, White supremacy, and the backpack of privilege I carry with me everywhere.

walking-backpacks-canvas-rucksack-backpack-for-school.jpgW.E.B. Du Bois described the concept of “psychological wage”in his 1935 essay Black Reconstruction in America. It was a mindset, a status boost, that allowed White laborers to feel superior, to feel better-than Black ones in the workplace despite being on the same employment level. Du Bois would go on to identify the colonial activity of Europeans and subsequent “White supremacy” across the world. While the term “white-skin privilege” was used during the Civil Rights era by activities, it wasn’t until Peggy McIntosh, a Women’s Studies scholar at Wellesley, wrote her essay “White Privilege and Male Privilege: A Personal Account of Coming to See Correspondences Through Work in Women’s Studies” in 1988 that the term gained traction.

McIntosh, a White woman like me, was “taught to see racism only in individual acts of meanness, not in invisible systems conferring dominance on my group.” But in methodically going through and identifying the daily, seemingly mundane effects of her White Privilege–her mind was blown.

My mind was also blown when my knapsack was pointed out in 1999… and I journeyed through a series of extremely typical responses people of privilege do when confronted for the first time (in this case White people confronted with White privilege and systemic racism):

  • What?!? No!
  • Sure, but not me? I’m not like that.
  • All White people!?!?
  • But I’ve had friends who are not White. I’ve dated non-Whites. I’ve….
  • Does this mean [enter Black friend’s name] won’t be my friend anymore?
  • Not me.
  • Oh my, me? Me? 

And this was not a five-minute journey. And there was crying. Because of course there was. There was a lot of guilt. There were long periods of knapsack removal and ignoring attempts. There was a long stretch of extreme over-compensation in which I was the most obnoxious “righteous not-listening person because ‘I am a person in-the-know’.”

At this point, I think I’m in a phase of perpetual “working on it.” But that’s a wobbly phase. The knapsack, it is invisible and therefore so easy to forget. There’s no ridding myself of it. There’s no emptying it. Somedays I am back in my “not-listening person” state and bless the patience of everyone around me as I swing my knapsack around and point screaming at all the knapsacks on everyone around me. [shudders at self with embarrassment, then gets over it]

The point: privilege is a knapsack society packed for us and slapped on our backs. The first step on the journey is acknowledging it’s there.

Is that your bag? Yup.


Not familiar with McIntosh’s article? Follow this link for a commonly excerpted version.

A privilege is an advantage, or right, or opportunity, or pleasure, or immunity granted to a particular person or group of people. “Privilege” is the holding of a set of advantages, rights, opportunities, pleasures, and/or immunities as a person or group of people. By definition it means there are others who do are disadvantaged, left out and behind, uncomfortable, pained. By definition it means there is imbalance and inequality (according to yesterday’s post, does it imply those who are “unlucky” according to “the system’s standards”).

Another definition of privilege I’ve encountered, from Facebook of all places, is this: “Privilege is when you think something is not a problem because it is not a problem to you personally.”
Privilege is when.png

Phoenix Calida defined and broke-down “privilege” thusly:

Privilege simply means that under the exact same set of circumstances your in, life would be harder without your privilege.
Being poor is hard. Being poor and disabled is harder.
Being a woman is hard. Being a trans woman is harder.
Being a white woman is hard, being a woman of color is harder.
Being a black man is hard, being a gay black man is harder.

This does not mean that having privilege, unearned advantages, in any area automatically makes life “better.” But it does mean “all things being equal” doesn’t exist. The starting line will always be ahead. Less metaphorically, it means that anyone holding privilege is more likely to have power or being in positions of power. They are more likely to share this power with people “like them.” And power-sharing, whether it’s investment tips, a role in a play, or the benefit of the doubt when stopped by the police for a minor traffic violation, increases the “betterment” for only some.


Are there definitions of privilege you’ve found useful? Please share. In this case: sharing knowledge to all –> empowering all to affect positive change.

Fairness & Privilege

February 1, 2016 — Leave a comment

Challenging myself this month to more openly reach out to my White, non-disabled, Hearing colleague with my writing. Seeking to share my perspectives, as jumbled as they may be right now at the point in the journey I’m on, and encourage more dialogue about diversity, inclusion, access, and equity. A fool’s errand? An out for my ramblings? Possibly both. I hope you’ll humor me. I hope you’ll join me.  – rg

—————–

G7417224cd87375308aebd27ee55cf597.jpgrowing up with a sibling, the desire for equality burned in heart, I saw personal injustice everywhere, and the phrase “that’s not fair” lived on the tip of my tongue, ready to be unleashed on the adults around us.

But, looking back on this behavior, I am embarrassed. I know despite any challenges we may have faced how “lucky” we were to have been raised in a two-parent household, to never go hungry, to always have a roof over our heads, to have access to high quality medical care, to have been able to attend college, for her to be able to attend graduate school. This “luck” is a result of the privilege we inherited from our ancestors, who happened to be White non-disabled U.S. citizens. Yes, my father’s parents are Jewish and, yes, my sister and I are both cis-gender female. This does afford us less privilege than, say, a Christian Anglo-American cis-gender male United States citizen. And yet, we are doing just fine by comparison. Consider a handful of stats:

  • Young black boys/men, ages 15-19, are 21 times more likely to be to be shot and killed by the police than young white boys/men
  • In April 2015, the unemployment rate for White U.S. Citizens was around 4.7%.  At that time, ABC News reported that the unemployment rate for Black citizens had landed at a “seven year low of 9.6%.”
  • Repeated studies have been released over the past few years demonstrating managers’ preferencing job candidates with names who sounded “more White” than “more Black.” Managers have also expressed less preference for a candidate with the exact same qualifications when the candidate was identified as female rather than male.

As I continue to educate myself, and hopefully in the process broaden my perspective, develop a deeper understanding of what “fairness” actually means in this world, I continue to revisit the many privileges I possess. And, I humbly hope, position myself to advocate for greater equity. Because right now, things sure as hell aren’t fair.

Prologuetriangulations and tetrahedronizations

Blog schedules be darned! This big eyed fish explored a new bowl and so the editorial staff has done a switcheroo.

Who out there noticed?

/crickets

Ok, maybe this is my way of telling you 1) we plan 2) there’s a “we” 3) this post has a lot going on and it’s possible the dots are not all connected.

Cannonball

#1

This weekend, I was slapped across the face. Literally. In front of my dog & pony dc co-ensemble members and a collection of artistic collaborators. By a man who we invited into our ensemble as part of a training. There are many other details I could share, but let’s open with this simple telling of the story.

#2

Being an ensemble member is hard.

“Team membership” brings with it immense power and responsibility. My guess is many few of us outside of the military and professional/life-practice team athletics truly knows this. In my world we tend to call it “ensemble member” or “ensembleship.” The variation between military or athletics, and ensemble, for us at least, is: the agency we endow individuals within the group; the equity with which we seek to operate and realize; the responsibility we share in manifesting shared vision and values; the trust we place and hold in the collective.

The thing about run-of-the-mill colleagues is that in most situations, they can easily avoid making choices, they can kick-back within hierarchy, they can maintain a narrow focus of impact, and everyone’s actions to superiors are either gestures of obedience, pledges of loyalty, or both.

The thing about run-of-the-mill leaders is that in most situations, they can give and take the semblance of power, they can tip over scales, they can give/ take/ reward/ punish/ spotlight/ ignore behaviors, and everyone else needs to have their trust earned by you.

But in our ensemble at least:

Every member of the company has an impact on the work and processes of every other member.

Membership in the company is a constant exercise in awareness, both of one’s own “orbit” within the company, and awareness of all the others. It requires personal flexibility to balance the work of the whole.

Because:

  • Agency can be taken or ignored.
  • Equity can balance despite variance, or it can remain disturbed and partisan.
  • Responsibility can be embraced or shrugged off.
  • Trust can be given and accepted, or withheld.

Reverse to #1 to launch into #3

So I was slapped across the face. Literally. In front of my co-ensemble members and a collection of collaborating artists. By a man who we invited into our ensemble as part of a company training.

Everyone physically remained in the room. I made a joke shortly afterward; transmitting a coded message to the ensemble (which turned out to be too coded). We processed through the moment, whether to engage in the exercise or not. I told everyone I was totally fine, and not to worry, transmitting another coded message to the ensemble members. (A number of them received it!) For the rest of the afternoon, many of the ensemble members were keenly aware of one another and the other collaborators in the room. Afterward there was informal processing in all sorts of small, private groups. There was some individual processing with me.

What stinks is that as a leader of an ensemble I’m keenly aware of how I must strive to epitomize our values and, sometimes, suck it up and ignore both ensembleship and me. However: I am still 1) an ensemble member and 2) an individual person. These three identities—Ring Leader, dog & pony dc ensemble member, Rachel—are a shifting triangle. When I add to that being female, white, young-ish, small statured, a loud talker, et cetera, the identity intersections I’m navigating at any given moment are mindboggling.

(What’s even more !KA-POW! is: everyone else is also navigating their own identity intersections. But, I’ve digressed. The point is…)

Back in company training this weekend, after the slap, I wasn’t fine. I’m not fine now. All the “processing” I engaged in didn’t take away the fact that I was slapped across the face in front of my co-ensemble members, because my leader-ensemble member-individual triangle held tight with “leader” at the apex for 36-hours. Should it have? Should I have re-triangulated within the group because ensemble? (aka “trust in the system”) Should the ensemble have recalibrated in such a way that encouraged or even forced that to occur? What does “leadership” actually mean within ensemble?

And so…

My initial simple telling of the story was inadequate. It was a moment bursting with complications that continue to spill out and spread across the floor. This writing is a necessary step in my clean up process. I’ve returned safe and sound to my bowl, and now am attempting to discern what I learned. And so, I leave these questions with you

What roles do agency, equity, responsibility, and trust play in your communities?

How can we all lead and follow by example?

How do you negotiate triangulating within a tetrahedron?

flesh colored crayonsIn honor of February, I propose an official ban on the phrase “I don’t see color” and derivative phrases of this sentiment used in the non-profit theatre community like “color-blind [___fill in the blank___].”

Who’s with me?

Not convinced already.

/sigh

  •  Watch part two of Jane Elliot’s The Angry Eye, starting at 10:00 (ps found one #withcaptions). Sharing not as an endorsement necessarily, but at 10:15 she asks a student if he identifies as male and black; he confirms he does. She asks if it is important to him ; he confirms it is. Why would we want to deny this of him by “not seeing” it, she asks.
  • Did anyone hear about Benedict Cumberbatch’s use of “colored people” in an interview with Tavis Smiley, referring to black actors? (what he said at bottom of article) Yes, the phrase “People of Color” is widely used, abbreviated to POC. I have also heard POC referred to as “People of Culture” which I both am interested in (gets away from “colored people”) and uncomfortable with (moves us in the #allLivesmatter direction). This is a roundabout way of saying, let’s check our vilifications and generalizations.
  • In December Lavina Jadhwani (Artistic Associate, Silk Road Rising and Oak Park Festival Theatre) shared her thoughts on color conscious casting in a HowlRound journal article. She details the process she and her design team went through in casting The Dutchess of Malfi at DePaul University. Getting a thorough look inside their decision making—fascinating. But what I loved was how concisely she summarized “the issue” in her opening paragraph: “I can’t think of an environment, in real life, where race doesn’t factor into relationship dynamic….I prefer the term ‘color conscious casting,’ by which I mean that race is acknowledged in, and ideally deepens, theatrical conversations.”

While my undergrad theatre instruction was narrow, it taught me that “to ignore” is not an active verb tactic. The same is true of white people when it comes to negotiating conversations about race.

If you too decide to ban “color-blind [___fill in the blank___]” from here on out, I recommend starting with reading Jadhwani’s HowlRound piece and these two articles. The first one (shared with me by the amazing Natalie Hopkinson who you should also follow because, well, she’s amazing) eventually introduced me to the word “unbalanced” to describe the feeling people of privilege have when discussing or navigating situations that spotlight their privilege. It’s not something we’re used to seeing. But it is a part of our identity, and there’s humbling strength to embrace it.


FWIW, Benedict Cumberbatch said:

“I think as far as colored actors go it gets really different in the U.K., and a lot of my friends have had more opportunities here [in the U.S.] than in the U.K., and that’s something that needs to change.”

“We’re not representative enough in our culture of different races, and that really does need to step up apace.”

How long have I been percolating on engagement and the arts? At least since 2006.

In cleaning my office, found these notes from the 2006 TCG Annual Conference in Atlanta. The topic? “Building Future Audience”

Thought I would share some notes from Kevin McCarthy’s “Understanding Arts Participation as a Behavioral Process,” a panel entitled “Who is the Audience of the Future?” with Guy Garcia and Wendy Puriefoy, moderated by Susan Booth and a closing address from TCG’s former executive director, Ben Cameron.

Enjoy (if you can read) and THANKS TCG for being awesome.

Previously on A Big Eyed Fish, in defining audience engagement I noted that it was “artcentric” and differed from community engagement and audience development.

In order to better show the relationship between a work of art, audience and community engagement, and audience development, I whipped up this infographic using my low-tech graphic design skills in PowerPoint:

Slide1Totally clears it all up, right?

Ok. Unlike a really excellent infographic, mine needs a little additional explanation.

Starting with the work of art:

  • The artwork drives our audience engagement programming choices. There’s a strong one-way relationship there and lots of overlap.
  • IMHO: audience engagement programming creation works best if we involve many different micro-communities or stakeholders  in the process. As a result of the art making or audience engagement program creation, we may form relationships with individuals outside our current artist/staff/board/audience/volunteer sphere. As soon as these new-to-us individuals or organizations become key participants in programming, this transitions into “community engagement.”* There is a strong two-way relationship between strategic community engagement and audience engagement, with some overlap.
  • The strong two-way relationship between audience and community engagement can result in a strong, positive audience growth for that specific artwork/art event or audience engagement program. It’s possible that as a result, this could result in future audience and community engagement programming.

While my infographic pales in comparison in terms of creativity and exploration of content, I believe it serves as a helpful reminder.  Each “programming area” has a distinct objective and, while related, they do not seek to achieve the same ends. Actors cannot play two objectives. Neither can engagement programmers. Don’t ignore what else is happening, but play out your part to its fullest.

 

*Note: as soon as one embarks on “community engagement” a different set of rules of engagement (pun intended) apply. More at another time but worth saying that you cannot “drag and drop” people. 

New blogger request for forgiveness, the original post needed more before I moved on. All updates, made 1/24/15 appear in this fetching orange.

A Google search of audience engagement yields a bevy of infographics:
Audience Engagement Confusion

And many definitions… (underlining all mine)

From Doug Borwick’s blog Engagement Matters:

“Audience Engagement is a marketing strategy designed for deepening relationships with current stakeholders and expanding reach over time. Also internally focused (artcentric), it may result in new modes/venues of presentation and means of illuminating/explaining the arts to the public. Typically, ‘outreach’ is an example of audience engagement.”

From Trevor O’Donnell’s blog Marketing the Arts to Death(link updated)

“Development professionals are unusually adept at initiating, nurturing and sustaining relationships with community members so the fit is ideal: engagement is merely an extension of the work that development departments already do.”

From WolfBrown’s Report Making Sense of Audience Engagement:

“Audience engagement is defined as a guiding philosophy in the creation and delivery of arts experiences in which the paramount concern is maximizing impact on the participant. Others refer to this vein of work as ‘enrichment programming’ or ‘adult education.’

Is it a “marketing strategy” as Mr. Borwick suggested? What does that mean for measuring success–ultimately only in numbers of people and dollars through the door?

Is it more relationship cultivation akin to development as Mr. O’Donnell suggested? If we embraced this, might it dramatically alter arts funding practices?

Is it essentially an organizing principle + strategic thinking framework as WolfBrown suggested? Why look outside of arts organizations’ artistic programming to do that; why not radiate from the artistic experience outward? Engagement as artistic imperative?

#thisdefiningaudienceengagementshitcanbesuperconfusing

SO WHY DON’T YOU TAKE MY WORD FOR IT!?!

Slide3

You caught me: I launched another definition into the blogosphere. But the intention of doing so, as an artist-administrator obsessed with integrating artistic and organizational advancement work, is to simplify and personalize, and stop the “whose responsibility should it be” back-and-forth that many definitions of audience engagement result in.

Points of clarification:

  • “Artcentric”: extending Mr. Borwick’s definition, audience engagement is driven by our role as artists in our community; therefore, our sweep of activities is going to be driven by our work (a.k.a. the art).
  • Mission Oriented (or even driven!): audience engagement should be an extension of your raison d’etre. Work within the enabling constraints of why the organization exists and what it seeks to accomplish.
  • Organization Curated: at the most basic level, someone inside the organization originated the audience engagement program idea or is saying “yes” or “no”; organizations can provide tremendous leeway and agency to collaborators and partners but audience engagement is selected and “held” by the organization.
  • Different from Community Engagement and Audience Development: these all have different outcomes. (More on IMHO the difference in a future post).

In addition to knowing why your particular organization (based on its mission) is embarking on this “audience engagement” thing, a baseline of shared values must exist and woven into the fabric of every activity.

Slide4

And that seems as good a place as any to stop, and step away from the keyboard. 

Do you have a preferred definition of audience engagement, whether it’s your’s or someone else’s?

We at A Big Eyed Fish would love to hear it!