Guest post: "Festivals, the new face of Zimbabwe", by Nicholas Moyo

It´s always a great pleasure having a conversation with Nicholas Moyo. Not only because of his sense of humour, but mainly because of his wisdom and experience, his calm and balanced way of analyzing the realities around him, his belief in a better future. In this post he writes about the proliferation of arts festivals in Zimbabwe and the efforts of the National Arts Council to create some guidelines in order to ensure that all arts festivals are held in accordance with the country’s aspirations as far as the development of the creative industries is concerned. mv

Intwasa Arts Festival (Photo taken from www.intwasa.org) 

The establishment of Arts Festivals in Zimbabwe has been in the past decade the in-thing for the exhibition of arts and culture products in the Southern African country. As much as people can agree on what a festival is, in Zimbabwe an arts-related festival is projected as a platform for the celebration of the arts, where artistes and cultural practitioners come together for a specific period to showcase their products in a carnivalesque and celebratory mood.

The above definition holds because festivals are, in general, a time for celebration and enjoyment. It is an event usually and ordinarily staged by communities focusing on some unique aspects of that group of people. As far as the arts and culture sector is concerned, each festival is moulded around a particular group of people. These then make the nucleus of the market or audiences thereof.

Current scenario

There are just about twenty five festivals in Zimbabwe: six international, eight national, six provincial and five district festivals. Most of these festivals started in the last decade, when the generality of the political landscape was on a meltdown, especially the economy.

Within the said period, Zimbabwe witnessed a proliferation of arts festivals, being hosted country-wide. Admittedly, some of the these were established to deal with issues related to human rights. Others were hosted by fly-by-night festival organisers out to fleece funds from the ‘easy to appease’ donors. This scenario resulted in the National Arts Council of Zimbabwe starting a consultation with the sector, crafting some general guidelines for all arts festivals to be held in the country. The guidelines were meant to ensure that all arts festivals are held in tandem with the country’s aspirations as far as the development of the creative industries is concerned.

Harare International Festival of the Arts (Photo taken from www.hifa.co.zw)

Successes

Festivals are in general a massive platform created for the establishment of a transaction between audiences and the organisers through the trading of art. Firstly, all festivals have been recording a steady increase of audiences every year. There is a growing market and a new relationship between this market and the creative sector. Audiences are beginning to exchange their time and monetary resources for good art.

Secondly, art creators have found it important and necessary to create new and exciting ‘good art’, while producers, directors and artists have begun to up the game because of the competitive nature of the creative industry. Festival organisers are contracting new productions mostly from reputable producers, as these tend to attract more people to specific productions.

Harare International Festival of the Arts (Photo taken from www.hifa.co.zw)

Challenges

The creative industries have had a fair share of market challenges. Top of the list is failure to attract meaningful partnerships that will either render financial support to the festival or underwrite even in kind some of its components. Some festival organisers are not well skilled to scout and sign-in partners, leading to failure to lock-in regular dates on the calendar. Thus, one tends to see festivals having to cancel dates they could only go ahead with only if they could get a last-minute funder.

Sponsors, especially from the corporate sector, have not been forthcoming generally for the support of the arts. Festivals are not an exception. Some, like the Harare International Festival for the Arts (HIFA), have created business synergies with the Corporates. One is tempted to say that the economic challenges Zimbabwe is facing as a nation have a bearing on the money circulating for the purpose of entertainment. The disposable income of Zimbabwe’s workforce is below the poverty line, and, therefore, this on its own has a global effect on people´s buying or spending patterns.

Intwasa Arts Festival (Photo taken from www.intwasa.org)

In conclusion, festivals in Zimbabwe are a necessary good in the development of the creative industries in the country. With the different thrust by different festivals, it is evident that these are carefully designed to target particular consumers for specific artistic products. However, the festivals need to be re-engineered as business enterprises for the creative products. The growth of festivals in Zimbabwe will also ensure that the arts are undoubtedly seen as a contributor to the GDP of the Southern African country Zimbabwe.

Nicholas Moyo is currently the Deputy Director at the National Arts Council of Zimbabwe. He has substantial experience in arts management - as a director, producer and administrator. He has also participated in various arts training programs and short courses, including script writing, arts management, leadership, directing, and fundraising. He has expertise in leadership, team building and management, program management, project planning and management, financial management, strategic planning and review. He founded the fast growing and second largest multi-disciplinary festival in Zimbabwe, Intwasa Arts Festival koBulawayo, and currently sits on the Board of Trustees. He is also a Board Member of Tusanani Cover Trust, a welfare support organization for underprivileged children. Nicholas Moyo was one of the consultants for the first arts and culture festival of Zambia, the AMAKA Arts Festival, which took place from 8 to 14 of October.

Naked men, sex, condoms, orgasms. Interested?

Greece. No special warnings required. (Photo: mdtili on Instagram)

So many 'keywords' in just one title... I wonder, will this post be read by more people than usual precisely because of its title or the photos that illustrate it? It´s quite possible, yes. Most of us cannot resist titles or images like these and the ‘promise’ behind them. Sex attracts; nudity does too.

Cultural institutions – well, the people working in them – are equally attracted to these subjects and sometimes they are actually willing to work on them, looking for the most imaginative associations. Who would have ever expected to find an exhibition on “love and passion on the coast” at a Fisheries Museum in a small coastal village in Belgium? It was called Zeerotica and it presented mermaids, mythological sea monsters and their intimate lives; seafood aphrodisiacs and the lovelife of fishermen; erotic images of more than a century of life at the beach.

The curator of Zeerotica said in an interview that, despite what people might have expected, this was not an obscene exhibition, it was, actually an exhibition for the whole family. There are different ways of handling these subjects, as all others, as there are different interpretations of what might be obscene or shocking or pornographic. Apart from the curatorial decisions, one must also consider marketing options. And culture marketeers, just like everyone else, cannot resist the temptation of using (or even ‘abusing’) certain subjects in order to attract more or new audiences.

Two upcoming cultural events were news recently. Both will open this week. Both deal with spicy issues. Both have designed provocative marketing campaigns. But, the more I think about it and read people´s comments, the more I feel there is a fundamental difference in their approach. Which will probably also be reflected on the outcomes.

"Mr.Big" by Ilse Haider, at the entrance of the Leopold Museum. (Photo taken from Delirium Clemens:)

The exhibition Nude Men opens next Friday, the 19^th, at the Leopold Museum in Vienna. One reads in the museum´s website: “Previous exhibitions on the theme of nudity have mostly been limited to female nudes. With the presentation ‘naked men’ in the autumn of 2012 the Leopold Museum will be showing a long overdue exhibition on the diverse and changing depictions of naked men from 1800 to the present.” At the museum entrance, “Mr. Big”, a male nude model by Ilse Haider, attracts attention and publicizes the exhibition. It´s not a painting, it´s a photo; so it´s more ‘real’, not simply ‘art’, if you know what I mean... Across the city of Vienna, people may see two different posters: one rather ‘traditional’ – showing Egon Schiele´s "Preacher" – and another one, less ‘traditional’, the work of  French artists Pierre & Gille, entitled “Vive la France” (again, a photo...).

Posters of the Nude Men exhibition (Images kindly made available by the Leopold Museum) 

I followed the discussion on the museum´s page on Facebook regarding this latter poster. People were able to vote on the version they liked best. The museum was actually forced to present a censured version of the various options (due to Facebook rules that led to the elimination a number of posts), but they were promising their fans that all would be ‘out in the open’ both in the streets and in the actual exhibition. There didn´t seem to be any other concern here, everybody seeming to be in a good mood and looking forward to the exhibition. Once the posters were out in the streets, according to the Lepold Museum Head of PR, Klaus Pokorny, people did start complaining, especially parents who didn´t like to see the poster next to their children´s schools. Last Thursday, the museum put once again the poster on Facebook (the special Facebook version), not just to defend their option, but rather inviting people to talk about it: “Regarding our exhibition, we are showing naked men... Nothing more, nothing less. We are now discussing if we should have covered the sensitive parts, just like here on Facebook. Is the depiction of a penis something absurd for our society?”. It didn´t take long for people to react and, once again, the dialogue was quite open and good humoured and concentrating on the actual issue, which was: is it not OK to show something like this in a public space?

Censored version of the Nude Men poster on Facebook.

Two days before the opening of Nude Men, on the 17^th of October, Don Giovanni premieres at the English National Opera. I´ve found out about it after receiving in my news feed, among hundreds of other articles, one entitled Opera and orgasms (I couldn´t resist...) And it was not so much about Don Giovanni, as about the poster: an open condom wrapper next to the words "Don Giovanni. Coming Soon."

(Image taken from LATimes).

According to a ENO spokeswoman who talked to the Evening Standard, “the theatre wanted a smart and catchy ad-campaign for the opera. We came up with this idea which we think is brilliant, funny and captures the idea of Don Giovanni in a witty way”. They don´t convince me. I think it´s a poor idea, even a lazy idea, probably aiming at shocking and nothing more. And this actually seems to be a general line in the way the ENO is trying to approach ‘new’ audiences: they try to necessarily make it sound sexy. An iniatiative that aims to bring new people in is  actually called Undress for the Opera... There is a very passionate video with director Terry Gilliam telling us why opera is fascinating, but was that (deceptive) title really necessary? When all they actually want to say is “This might interest you. We have some cheap tickets here for you to try it out. By the way, come dressed as you like” (actually, a lady commented in a newspaper that for her teenage daughters going to the opera for the first time was an excuse to dress up...).

Going back to the Don Giovanni campaign, reactions on Facebook, although not coming for the campaign´s target audience (where is it actually? do they know about it? have they seen the video? do they realise it´s for them?...), show that some of ENO´s actual fans also feel that this is just talking and trying to sound forcibly sexy. They even think that people already come to the opera dressed as they please. Other people seem to find it funny. On Facebook, the ENO has answered its critics saying that “Overall we've had a very positive response to the Don Giovanni ad campaign, with most people seeing the funny side and agreeing with us that the ads capture Don Giovanni in a witty manner.”  It does sound a bit like an ‘official’ response.

In my view, the difference between the two campaigns is that, although both aim to reach larger and maybe even ‘new’ audiences through popular and sexy subjects, the Leopold Museum tries to be rich and creative in its approach, while the ENO makes it look and sound banal and lazy. And I believe that this will actually influence the outcome. Maybe not... I am sure that after the openings there will be more discussion, both in the press and on Facebook, hopefully including the views of those who are actually targeted with these campaigns. In case there is no other form of summative evaluation carried out by the promoters, it will certainly be interesting to follow these informal discussions.

Special thanks to:

Klaus Pokorny, Head of PR at Leopold Museum, for kindly sending me the posters and answering my questions;

Inês Fialho Brandão, for bringing Zeerotica to my attention;

Spyros Gryllakis, for his help with the german translations.

Guest post: "Serving the arts - Surviving the crisis", by Ira-Iliana Papadopoulou (Greece)

When one meets Ira Papadopoulou one can hardly guess the strength and passion that lie beneath an apparent calm, reserved and rather quiet character. She´s so strong and passionate that when she was informed that her annual budget would be cut down to…0, she thought: “OK, back to work now”. It´s not business as usual though. Ira and many other culture professionals in Greece are facing extremely hard conditions, not only related to cuts in the cultural sector, but related to measures that have led to the destruction of the country´s economy. Ira is giving us a brief account of a sector that remains alive, that resists and that is still able to offer a social antidote to a bitter economic reality. mv

Part of the installation EIGHT (ΟΚΤΩ), Nr.6, by George Tserionis, 2011 (drawing  on paper, 120x100). (Photo: george Tserionis) 

“Without art, the crudeness of reality would make the world unbearable.”

George Bernard Shaw 

The suggested topic was clear: Greek culture in a time of crisis. I couldn’t resist. It was definitely something I could talk about. Few weeks ago, when Maria Vlachou kindly asked me to contribute with a guest post to her blog, I was more than willing to share my professional views and my sincere anguish about the current situation of the cultural institutions in Greece. And then, just before starting writing my text, I read one of Maria’s enlightening, older posts about the Greek crisis and the cultural sector and I realized that almost nothing has changed since 2010…  Or maybe not? Maybe there are a few changes, but I’ll leave it to the readers to make the final judgment whether these changes are for better or for worse.

Starting with the Greek Ministry of Culture, which is not one of the most important of the country any more (as the Greeks had been told back in 2004), but rather a sub-ministry of a magical combination: Ministry of Education and Religious Affairs, Culture and Sports.  Yes! The ultra-ministry in which everything, education, religion, culture and sports can be combined and managed accordingly. Not far from the famous greek salad, a bit of tomato, a bit of olives, a bit of onion, a bit of feta cheese…

People working for public cultural institutions - or institutions publicly supervised and funded - are literally crying out for help. The money is not enough to cover even the electricity bills. They now know that they have to find alternative resources, but no one ever tried to give them some directions on how to go about it. What’s more, the State’s incentive strategy for encouraging private sponsorships is almost non-existent.    

The Attikon Cinema, the oldest cinema in downtown Athens, almost a year after  being burnt during the protests against the austerity measures. (Photo: Ira Papadopoulou)

Even the private cultural initiatives are now in the eye of the storm. Since there’s not such a thing as a financial or cultural vacuum, the private domain is struggling to keep their staff, the standards of their services, their sponsors and, at the same time, maintain an interesting cultural programming. This is a difficult equation to solve.  Some are standing still, some are falling and some seem determined to move on to a new kind of creativity and open up to ‘unknown words’, such as collaboration, volunteerism, membership schemes, crowdfunding. Nobody can assure them that there’s light at the end of the tunnel, but if they don’t try there’s no way to ever find out.     

And all this is taking place in a period when followers of the neo-nazi party of the Golden Dawn publicly threaten festival directors, authors and artists for presenting works that, according to their opinion, insult the “national ideals”.  It looks as if art is once again the perfect alibi for nationalistic hysteria and conspiracy theories of all sorts. At the end of the day, all economic crises go along with the ultimacy of social values…

But talking about “the economic, social and moral crisis of our times” became a tedious repetition and those working for the arts tried to step back and find their way out of this depressing discourse. Without underestimating the psychological and all other effects of the crisis, the artists seem to find the courage to resist and claim their right to discuss, create and suggest alternatives for presenting their work to the public. New cultural initiatives, new cultural productions, new art groups (like the cultural venue about:, the project space Ommu, the Contemporary Art Meeting Point, the artistic team Athens Art Network, to mention only a few), but most of all, a new spirit of getting together and try to get the audience’s attention out of the everyday misery.

Celebrating the annual comics festival Comicdom Con Athens. Main entrance of Hellenic American Union, March 2012. (Photo: Antonia Houvarda)

This is not to say that crises and hardship are beneficial to art. This is not about an art blossoming. There’s no such thing as magic. But if we believe in the arts and we keep up serving them the best way we can, there is a serious chance to survive and even flourish.

We owe Greek artists a lot. It is with their courage and the cultural managers’ persistence that the cultural beat of the country is still alive. And although hard to believe, there are more than a dozen visual art exhibitions openings every month, more people to theaters than all previous years and more public (and free of charge) events than ever. Lectures, concerts, festivals, performances, happenings, and so on…. A night out in Athens proves that there is a vivid cultural life out there, and if anything else, culture can still be the social antidote to our bitter economic reality.

Ira – Iliana Papadopoulou studied Sociology, Communications Policy and Arts Management in UK. Since 2004 is the Director of Cultural Affairs at the Hellenic American Union, a public-service cultural and educational institution based in Athens, Greece. Prior to joining the HAU, she worked as Director of Public Relations and Communications Manager at other cultural and educational organizations in Greece, such as the British Hellenic College and the Center for Neo-Hellenic Studies (official home of The Cavafy Archive). From 2010 to 2012 she was an International Fellow of the DeVos Institute of Arts Management at the Kennedy Center in Washington, DC.

On social media one... socializes

Image taken from Devon Smith´s presentation The science of social media building.

A commom assumption is that all means of communication serve one single purpose: advertising. And more specifically: advertising a calendar of events. Very often we come across various promotional materials advertising the same event (an exhibition, a concert, a theatre play, a debate), in various formats (outdoors, posters, postcards, leflets, newspapers, newspaper ads, TV and radio spots), all with the same information (what, when, where). I believe that the use of each promotional material should have a concrete objective. The choice of format, the contents to be introduced, the timings of distribution, they all contribute in the promotion of an event, but, beyond this and most of all, they contribute in building something larger in terms of communication: the idea, the feeling and the involvement one wishes people to have in relation to the institution or person that promotes it.

The social media are still a rather new means, which has not been adequately studied yet by the majority of us in terms of purpose, possibilities and impact. I am talking specifically about Facebook, the one I use the most. Following the activity of a number of institutions (both cultural and other), I reach the conclusion that, as a social medium, Facebook is, first of all, just that: a space to socialize. As a friend of mine says, we should look at it as a café, a public space where people converse and share – ideas, opinions, experiences, information. It´s a space where we want to be because... everybody else is there, because we want to be part, because we don´t want to be left out, because we also want to converse (especially about ourselves...). Based on my personal experience, organizations that do just that, converse, are the ones I feel more involved with, meaning I give like´s, I share and I comment (thus contributing for a specific post´s larger visibility). In the case of organizations that limit themselves to promoting their calendar events (and which also exagerate in the number of posts or post a number of them consecutively), I pass over them or even hide them from my news feed, letting my ‘friends’ do the sorting out of what´s more relevant and interesting (and then, yes, I do pay attention).

This has been my experience with using Facebook at a personal and professional level. In the meantime, and although the majority of us have not properly explored these means yet, this area has already got its specialists. I was very fortunate to meet one of them during a seminar at the Kennedy Center last July. Her name is Devon Smith, she is very young, clearly a specialist, and she holds the post of Director of Social Media in Threespot, an agency that designs digital engagement strategies for not-for-profit organizations. I learned a lot in that seminar (the presentation is available here and it´s very clear), while, at the same time, I saw one of my greatest suspicions being confirmed: Facebook doesn´t sell tickets...

This is exactly why we should carefully consider why we are there, which is the best way of guaranteeing our presence and what we expect to get out of it. Among what I learned with Devon Smith, my experience as a user and my ideas on what communication means for a cultural institution, here´s what I think:

Why are we on Facebook

- To talk with our ‘friends’, people who like us, who like our way of being, who like what we have to say, who like our work;

- To strengthen our brand, that is, the idea we want people to have about us, about what it is we stand for;

- To multiply our ‘friends’, because through the ones we have already got we can make more, helping to spread our word further and further and, thus, broadening our base of supporters.

How should we be on Facebook

Before anything else, I should say that I feel it is essential that our voice in this conversation is concrete, recognizable, the one our ‘friends’ are interested in listening to. Some time ago I wrote a post called Faces, where I was writing about the importance of humanizing our institutions, of giving them a face, because it is a way of creating a relationship with people, of involving them. In this case, it´s about the importance of also giving them a voice. And as Marc Sands, the brilliant Director of Marketing of Tate Modern, puts it, people don´t want to listen to him, they wish to ‘listen’ and ‘talk’ to Nicholas Serota, the museum director (it´s worth watching the video How to engage with new audiences in the gallery). The impact of a post is totally different when it is a museum director, an artistic director, an orchestra conductor, a director, an artist, talking about the event, inviting us, telling us why we cannot miss it, revealing secrets, sharing his/her inspirations, emotions, concerns. Afterwards, this is the voice that will be ‘shared’  and taken further and further by our ‘friends’ (those who are ‘friends’ with Jorge Silva Melo on Facebook know what I am talking about).

Image taken from Rijkmuseum´s page on Facebook.

Having said this, I believe there are a few more points we should be paying attention to:

- Conversing means abandoning our dry, institutional language and use a more human, direct, everyday tone, with a sense of humour. The best example among the institutions I follow is Rijksmuseum (it is worth watching the video Rembrandt´s timeline, the objective of which was to increase the number of fans of the museum´s Facebook page, or to follow the monthly voting for the Misses that will be part of a calendar the museum will produce)

- Conversing means talking, but also listening. And answering. Quite often, questions and comments by ‘friends’ and fans (mainly on the pages of known personalities, run by them or by their agents) remain unasnwered, putting an end to ‘communication’ (very good examples of portuguese artists conversing with their fans on personal pages are those of Mísia and Aldina Duarte). It is equally important to know how to deal with controversial or unpleasant comments. On of the best examples I´ve seen recently is the way Woolly Mammoth theatre dealt with the controversy around the re-staging of Mike Daisey´s monologue The Agony and the Ecstasy of Steve Jobs (read here  and here). The theatre answered all comments on Facebook and did not hesitate to post on its page articles that severely criticised the option to re-stage the play, proving to be totally open to dialogue and encouraging more and more conversation... about itself (those posts are no longer available on the theatre´s timeline, but it´s worth becoming a fan of Woolly Mammoth, one learns a lot).

Answer of the Editor of Multimedia of the newspaper Expresso to a reader´s comment. More on the blog PiaR.

Finally, some common practices I think should be revised:

- It seems to me that it does make sense to consider the number of daily posts, should we really wish to keep our ‘friends´s´ attention (there are institutions that really overdo it, without having anything special to add to the conversation);

- Although posts containing photos generate more ‘conversation’ (likes, shares and comments), it doesn´t seem to make sense to post photos of a specific event one by one, in consecutive posts, instead of organized in an album; as it doesn´t make sense to post photos which our out of focus, badly taken, various shots of the same scene or of the same moment in a conference or debate;

- Posts with calendar information are not interesting at all, they have little or nothing to do with Facebook´s nature, they don´t stimulate conversation (much less sell tickets). They actually give you the feeling that a seller is trying to impose something on you, something that... doesn´t sell (with or without a good reason).

So, in the end, what do we expect to get out of all this? A conversation. A good conversation. Moments of wonder, of laughing, of surprise, of discovery, of pleasure, of complicity, which make our ‘friends´seek our company more and more, both virtual and... real company.

More

Devon Smith´s blog

Devon Smith, Case studiesof theatres using social media (presentation)

Guest post: "Inspiring a love for the arts in younger audiences", by Consuelo Hidalgo (Ecuador)

Consuelo Hidalgo is a person full of energy and enthusiasm that makes you feel that everything is possible. And she works hard enough to actually make things happen. Right now she is the right person for the right job. Being the Executive Director of Fundacion Niños con Futuro, she brings together her love for the arts with her love for children. In this text, she is sharing with us the story of her contribution to Ecuador´s future. She is dreaming of and working for a country populated by citizens who are sensitive, creative and genuine critical thinkers. mv

A pre-school student at Guayaquil Symphony Orchestra´s concert for kids. (Photo: Consuelo Hidalgo)

I remember the first time I heard my grandmother tell me in a very enthusiastic way the story of La Traviatta. I was five and very impressed by the plot and the way this passionate music and voices narrated this drama in such a magical, but incomprehensible, way.  This is how I was introduced to the opera, a grandmother’s storytelling game that developed a new way to perceive and understand this art form.

Every art form has a story to tell. For me, having worked for several years in audience development projects for younger people in museums, symphony orchestras and children’s foundations, taught me the importance of the way, quality and frequency of the stories we tell children to get them involved in the arts.

In Ecuador, most of the performing arts activities are free for children, so why are ecuadorian younger audiences so detached from the artistic environment? I think the problem starts with the ‘willingness’ of educational institutions and parents to bring them to a performing arts show or rehearsals (which are almost all open on specific days to the public). My question now is, what is the story we are telling educators and parents about the benefits of attending a performance, and how do local arts institutiosn plan their activities to serve younger audiences? And how sustainable are arts institutions going to be in the years to come, since the arts and music is no longer a mandatory subject in schools and when other kinds of entertainment are being consumed by the population?

Maestro Ivan Fabre (Guayaquil Symphony Orchestra´s first violin) giving a concert for kids at Fundacion Niños con Futuro. (Photo: Consuelo Hidalgo)

We still haven´t got any formal studies on the impact of arts education programmes on younger audiences in Ecuador. Our parametre to measure results is the feedback given by parents and teachers. I clearly remember when my first ‘formal’ arts education programme was taking shape, “Cultura para todos” (Culture for everyone). I was working at the colonial art Museum Nahim Isaias and, as you can imagine, getting kids excited about colonial arts was a very tough call. So, I started playing with concepts used by our curators in our exhibitions that could be presented as a parallel story in a familiar language for pupils. For example, based on a permanent exhibition inspired in iconography, we created a special programme, in accordance with the academic standards established at national and local levels. Each teacher received a worksheet to guide students and was supposed to implement the programme in the classroom, while specific art and iconography concepts were taught during the museum visit.  The programme was designed to support arts learning in classrooms. The purpose of this, as well as of the following young audience development programme at the Guayaquil Symphony Orchestra, was to engage students through a creative approach to education, provide arts experiences for children and empower students with tools of self expression. This experiences included visits to the museum where the children received a special workbook with fun activities, like, crosswords, riddles, and clues to play a mistery game guided by the staff, and visits to the symphony orchestra and strings quartet concerts at their schools, also with a workbook focused on their experience after the concerts. The response we had from teachers and parents was very positive, since they could clearly see an increase in students’ engagement in learning and a more active and sustained appreciation for the arts. The most rewarding experience for us was to see these children coming back with their parents on the weekend (and letting us know they came back), as well as to know that schools that participated in our programmes were know including arts and culture fair in their academic calendar (we were invited to inaugurate eight of these fairs).

This was how, eight years ago, I started developing community-based partnerships, as a means of building the audience required to ensure high-quality arts learning for young people, and settled my goal to improve schools and community capacity to embrace the arts, which would hopefully develop a systemic demand for arts education in the future.

Children from Fundacion Niños con Futuro visit the theatre in Guayaquil. (Photo: Consuelo Hidalgo)

So, what is the story we should be telling society about the importance of arts in children’s lives? Art is a relevant strategy for education in all areas. In early childhood, it enhances creative, reflective and critical thinking. It is a learning tool that stimulates the ability to create and innovate. So, we can certainly say that, through art, children can express their feelings and creativity as they develop critical thinking skills.

The question we are now facing is not one of "education minus art" versus "education plus art," but, rather, what is the quality of the core skills set with which we hope to - and must - equip future generations? Will it be a tool kit designed for the performance of simple practical tasks? Or will it promote, instead, the sort of flexible, imaginative and critical thinking that is required to deal with the complex and ever-shifting challenges posed by the contemporary world? Will it limit its compass to the classroom? Or will it, instead, become a lifelong resource for personal growth and enrichment? Will it make us more aware of the subtle details of life, instead of hungry for all quantifiable consumers’ gratification goods?

Being involved with the arts as a child changed my life forever. I wouldn’t be so active working on this specific matter if it wasn’t so. This is the story I want tell you and, hopefully, I will find similar stories in the future from the generations to come.

Consuelo M. Hidalgo is a journalist. She is currently working as the Executive Director at Fundacion Niños con Futuro. Before that, she worked for 4 years as cultural promoter at The Guayaquil Symphony Orchestra, where she was responsible for audience development programmes, international relations and educational programmes. She started her professional career as PR Manager at the Colonial Art Museum Nahim Isaias, in Guayaquil. During the time she worked at the museum, she developed multiple cultural projects that pursued the integration of people with fewer resources in the museum´s the cultural activities. This project was called Cultura Para Todos and it has been taken to other cities in the country. In 2006 she was offered a position at the MAAC, an anthropologic and contemporary art museum, to manage a new project called Vivir La Cultura - offering free performing arts presentations to the citizens by using regenerated areas of the city as their main stage. In 2008, she participated in the U.S Department of State’s Bureau of Education and Cultural Affairs and the John F. Kennedy Center for the Performing Arts International Cultural Exchange Fellows Mentoring Program for Performing Arts Managers. She just finished her Arts management fellowship at the DeVos Arts Management Institute at the John F. Kennedy Center for the Performing Arts.

On public value

Image taken from detroitfunk.com

There already exists extensive litterature regarding the value of the arts and culture. The issues related to its instrumentalization by governments or its intrinsic character have been on the agenda for many years now, especially in countries such as the US, the UK or Australia. There was a moment when, considering all the ‘proofs’ one had to give, I thought that culture professionals are exactly and only that: culture professionals. They are neither teachers nor therapists or doctors or priests or policemen... If their work has a positive impact on other areas, this impact must be registered e professionals in those areas, as well as their ‘users’, must become our ambassadors. More than any study on, for example, the impact of the cultural sector on a country´s economy (there are various, governments use them or ignore them), more than any argument we might present in defense of our cntribution to society, there is a need for the testimonies of those who are the ‘direct beneficiaries’ – even of ‘colateral’ benefits – of our work. And let´s not forget, these are the people who vote in elections.

Nevertheless, more than once I´ve expressed here my concern regarding the fact that culture professionals are keeping a distance from society, from the people. Whenever we debate the importance of culture, the reasons why it should be state funded, our arguments are only good enough for internal consumption. It´s us talking to our peers in defense of our ‘small corner’. We even give the idea that we are defending personal issues and not the common good.

People defend and support with their taxes the existence of public hospitals (even if hoping never to set foot in them, but because they recognize in their existence a common good). What needs to be done in order to think and talk in a similar way regarding culture? So that everyone, users and non-users, envisages it as a common, indispensable, good?

Approximately two years ago, I came across for the first time in my readings with the term ‘public value’, in a text by John Holden, dating from 2004, called Capturing Cultural Value: How culture has become a tool for government policy. In this text, ‘public value’ is defined as the value added by government and the public sector in its widest sense. It is the difference between what citizens give to and what they receive from public bodies. Citizens recognize value when they give something up in return (in culture that might be, for example, money – for buying tickets or in donations -, time, energy, voluntary work, etc.).

Last month, the Detroit Institute of Arts (DIA) became news when it suceeded in convincing the residents of three counties in Michigan to vote for a new property tax which will benefit directly the museum. Thus, the DIA will be receiving $23 million per year for the next 10 years (91% of its annual budget), while at the same time it will try to raise $400 million for its endowment so that, after the 10 years pass, it can continue its operations. After the tax had passed, the museum offered free entry to all residents in the three counties.

In what concerns this event, Diane Ragsdale, author of the blog Jumper,  did an excellent analysis (read here), with links to more texts, where she raises sime extremely relevant questions: has the museum calculated the impact (in the sense of reduction) on citizens´s usual contributions (donations, admissions, membership, etc.); would it have been a more intelligent and ethical solution to try and support various institutions rather than only one; is the DIA putting itself in an awkward position, having to renegotiate its relationship with the community in ten years’ time; what motivated people to pass the tax and how mat those who voted ‘no’ be feeling; how should one interpret the tripling of attendance in the week after the tax was passed; and, finally, what will the impact of this quid pro quo deal will be in what concerns the benefits a community may (and will expect to) receive in return for its support to a cultural institution?

This last question takes me to another excellent text, by Nina Simon, author of the blog Museum 2.0, who focused on the public discussion during the museum´s campaign (read here). Nina analysed more than 300 comments in the Detroit Free Press Online and once again raised  questions regarding the way people perceive culture´s public value and the way these debates can and should be conducted by cultural institutions themselves. Nina quoted a very interesting study, The Arts Ripple Effect: A research-based strategy to build shared responsibility for the arts, which identifies, among others, three main assumptions regarding the arts: the arts are a private matter (they are about individual tastes, experiences and enrichment ans also about individual expression); the arts are a good to be purchased (thus, they should succeed or fail as any other product in the market); the arts are not a priority (even among those who value them). The study suggets that, knowing of these and other assumptions, it is possible to build arguments in defense of culture which may be understood by the majority of people, acknowledging its impact on their lives and that of their community. A common good requires a common language and a common frame, shared by all.

Rebecca Lamoin, Associate Director of Strategy at Queensland Performing Arts Centre and my colleague at the Kennedy Center, is currently working on a project about the public value of cultural institutions. As part of a two day forum, she is organising a national radio programme, open to the public. In this preparatory phase, she is inviting culture professionals from all over the world to make brief statements, answering the following questions:

- What is the most important thing your organisation delivers to your community?

- Why do your communities love you?

- What people in your city would miss if your organisation wasn’t there anymore?

I believe that trying to answer these questions, especially the last one, would be a good exercise for all of us. And it would also be interesting to know how many institutions in Portugal have already got the answers, because they actively collect and register these data. In the beginning of November, Rebecca Lamoin will be telling us in this blog of how things went in Australia.

Still in this blog:

So, what´s the plan?

We are for people. Or… arewe?

Ministry of Culture: Whichculture? Whose culture?

Who ‘deserves’ to be funded?(II) Some conclusions

More readings

Public Value and the Arts inEngland: Discussion and conclusions of the arts debate

Regarding other tax schemes benefitting cultural institutions in the US, do read this post by Ian David Moss on Createquity.

Guest post: "Reinventing and making museums matter", by Ihor Poshyvailo (Ukraine)

Ihor Poshyvailo is a very discreet man, but, once we get to talk to him, we discover a wealth of knowledge and experience. In these conversations, it becomes obvious how concerned he is with the opening up of his country, Ukraine, to the world and the role museums can play in this period, which is still one of transition, especially in what concerns the encounter of folk culture and contemporary artistic expression. In this post, he shares his thoughts on the present and future of museums in his country. mv

Parade of "vyshyvankas" on Independence Day in Kiev. (Photo: Bohdan Poshyvailo)

Arts and culture were embedded in the environment I was brought up in. My grandparents were prominent folk potters who founded the first home-museum in Ukraine, the one which happened to be a predecessor of the National Museum of Ukrainian Ceramics in Opishne, a small village that boasts the title of “Capital of Pottery”.

I have been working in the cultural sector for over twenty years, but I should admit that the last three were especially favorable for me. I became a Fulbright Scholar at the Smithsonian Institution and a Summer International Fellow of the DeVos Institute of Arts Management at the Kennedy Center. These generous opportunities have provided me with new knowledge and empowered me with new ideas and visions.

Our world is becoming smaller and globalized. Nevertheless, it remains unstable. The cultivation of multicultural respect and mutual understanding between different communities can be one of the solutions to the biggest challenges and threats of the 21st century. In this process, special roles are given to arts and culture organizations, and especially to museums, which today turn out to be not only classical institutions for the preservation and presentation of historical, cultural and natural values, but important communication facilities. They have the power to profoundly alter our knowledge and sense of ourselves and of the world around us by transmitting information by means of presentation of objects and concepts, and their interpretation. As a number of researchers have suggested, museums also implicitly communicate messages about authority, power and the values of the dominant culture. Museums help us to reconstruct the past as well as provide an essential background for the understanding of the present.

In the last decades, museums in the United States have become more responsive to a diverse public by shifting focus from the presentation of objects to their interpretation and the production of experiences, while exhibitions have become people-centered, idea-oriented and contextualized. As envisioned by Stephen E. Weil, “The museum of the near future as an intricate and potentially powerful instrument of communication…will make available to the community… its profound expertise at telling stories, eliciting emotion, triggering memories, stirring imagination, and prompting discovery.”

Performance by a famous ethno-chaos group, DakhaBrakha, at Ivan Honchar Museum. (Photo:  Bohdan Poshyvailo)

The expansion of cultural heritage boundaries in the second half of the 20^th century prompted new answers in what concerns the relations between heritage objects and their consumers. ‘Heritagization of space’ – a process of reinterpretation of one’s environment – puts heritage objects and cultural institutions in line with other popular leisure facilities, including circuses and casinos, restaurants and resorts, even television and the Internet. This phenomenon has had an impact on contents and methods of presentation and interpretation of cultural legacy and has inspired the transformation of museums into special and important grounds for a dialogue about the role of cultural heritage in the development of democracy and civil society. According to the famous futurologist Rolf Jensen, the present society, characterized by scientific approach and rationalism, will inevitably return to emotions, history and values.

In this context, it should be mentioned that the social role and popularity of a museum in Ukraine are quite small, unlike in the Unites States and other developed countries. There are numerous reasons for this. The genocide policy of the communists in Ukraine and the cultural oppression of the last 80 years resulted, of course, in a considerable loss of historical memory for the Ukrainians. During the repressive years of Soviet culture, much of the distinctively Ukrainian heritage lay dormant, hidden. This was unfortunate in many ways, but our cultural isolation preserved our traditional culture as in a time capsule. Since 1991, new freedoms have come providing access to new markets and cultures. Along with this access came the flood of global cultures. Although there may be many economic advantages, in Ukraine this flood of global cultures meets a vacuum of cultural memory. For our nation, charting a distinctive course into the future and the democratic open society requires some memory of who we have been.

The Ivan Honchar Museum, as well as many other museums, can uniquely provide these cultural bearings. The only problem is how to shift from the still dominant communist model of museums - which served only as depositories for imprisoned cultural and ethnic treasures and for ideological purposes, for the ceation of a new nation, the Soviet people. Today, hundreds of museums in Ukraine can boast unique and rich collections, but they are not inspired for transition, to reinvent and make themselves matter. The museum field in Ukraine is at a critical juncture confronting daily challenges. This happens because of a lack of professional knowledge and international co-operation, outdated methods of operations, policies, and programs, that prevent them from becoming leading centers of learning and education, shaping, creating and interpreting values. Their collections, libraries, archives and other documentation resources are still not open to the broad public. New forms of art expression and new segments of the cultural sector are starting to emerge in Ukraine. But there is no effective professional management in this field and no efficient cultural policy. And the Family – an important element of The Cycle model, crafted by Michael Kaiser, the Kennedy Center’s President – has not been built in Ukraine yet.

Fashion show during the Lion Fest in the galleries of the Ivan Honchar Museum. (Photo: Bohdan Poshyvailo)

But I believe in cultural diplomacy and entirely agree with my DeVos fellow-mate Caroline Miller from London, who suggested in her post for this blog that a big cultural or sport event can effectively communicate to a mass audience more about the host country “in just one show than politicians have achieved in decades”. In my recent trip to Tunisia I was so surprised that many local people (even at the “gate to Sahara” south region) smiled friendly when finding out I was from Ukraine, admiringly saying “Ukrajna. Shevchenko!”. Of course, I wish they meant our national icon ­– the legendary poet, philosopher and artist Taras Shevchenko, who lived in the 19^th century -, not only our famous football player Andriy Shevchenko. Nice illustration of how this Euro 2012 Football Championship has served as a great cultural diplomat for Ukraine.

And I do believe that foreign experience in the cultural field can be of critical importance and value for Ukraine. It will help us find a way to comprehend and advance the use of our cultural legacy and of new forms of artistic expression in a rapidly-changing environment, focusing on why museums are important to our culture, what they can contribute to the quality of human experience and welfare, how they can enrich lives through engaging emotions, enhancing experience and deepening the understanding of people, places, events, ideas, conceptions, and objects from the past and present.

Ihor Poshyvailo is an Ethnologist with a PhD from the Institute of Art Studies, Folklore and Ethnology, National Academy of Sciences(1998). He is the Deputy Director of the National Center of Folk Culture “Ivan Honchar Museum” (Kyiv); the Chairman of the Kyiv Regional Branch of the National Union of Folk Art Masters; a founding board member of the Ivan Honchar Foundation. He is an expert in the State Art Commission of the Ukrainian Ministry for Culture, as well as in the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage (2009). He is the author of the award-winning book Phenomenology of Pottery (semiotic and ethnological aspects). Co-moderator and co-organizer of international museum management seminars (since 2005). Participant in the International Visitor Program (USA, 2004), Global Youth Exchange Program (Japan, 2004) and The World Master’s Festival in Arts and Culture (Korea, 2007). Curator of international art projects, including the traveling exhibition “Smithsonian Folklife Festival: Culture Of, By, and For People” (2011), “Interpreting Cultural Heritage” (2011), “Home to Home: Landscapes of Memory” (2011-2012). Holder of the International Charitable Fund “Ukraine-3000” Scholarship (2005–2006), he has also got the title of Honorable Man of Arts (2008). He was a Fulbright Scholar at the Smithsonian Center of Folklife and Cultural Heritage (2009-2010) and is currently a Summer International Fellow at the Kennedy Center (2011-2013).