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Year Three in Review

In 2008, The San Francisco Foundation (TSFF) and Grants for the Arts/San Francisco Hotel Tax Fund (GFTA) embarked on a four-year funding partnership to encourage systemic and sustainable structural change in the relationships of Bay Area arts organizations to their audiences, supported by the Wallace Foundation.

Running on the inertia that the project had developed within its first two years, The Wallace Foundation Cultural Participation Initiative reached new heights in its third year. With the huge success of January’s Beyond Dynamic Adaptability, events and workshops were booking up almost faster than they could be disseminated. This would also be the year, however, with major shifts in leadership in the Initiative. Marcy Hinand Cady of Helicon Collaborative resigned from her position as initiative coordinator to be replaced by independent consultant Rebecca Novick. Additionally, John Killacky, arts and culture program officer at TSFF, left the Foundation and the Bay Area in June. Together, Kary Schulman, director of GFTA, and Rebecca stepped up to take the reins until a permanent program officer was found to fill John’s role.

  • January 28, 2010 – With almost 1,000 attendees and a line up of local and national thinkers from the arts, neuroscience, business, media, and philanthropy, the Dynamic Adaptability conference was designed to explore a myriad of issues pertaining to the arts. The day was filled with deep conversations about how the recession and technology were effecting arts and journalism and what models artists employ to ensure their livelihood (Click here to download a PDF of the speaker bios, click hereto download a PDF of the agenda).
    • Jonah Lehrer, neuroscientist and author of How We Decide and Proust was a Neuroscientist, enthralled the audience with artistic theories that only recently have gained scientific notoriety. Sitting down with Holly Sidford (Helicon Collaborative), he discussed what new research about creativity and the brain suggest for the practices of cultural nonprofits and how understanding the science behind decision-making can help us to better engage audiences. The fact that Lehrer’s book, Proust was a Neuroscientist, was sold out in bookstores across San Francisco and the Bay Area indicated the eagerness of attendees to learn more about the topic.

    Cora Mirikitani discussing artist connectivity with Jaime Cortez, Margaret Jenkins, and Judilee Reed.

    • Judilee Reed, Executive Director of Leveraging Investments in Creativity, presented findings from a study on Bay Area artists and the economic recession (Click here to download a PDF of the survey findings, click hereto download a PDF of Judilee’s speech). Judilee then engaged in a conversation about how artists can strengthen their connections with audiences, communites, and support systems with artists Jaime Cortez and Margaret Jenkins led by Center for Cultural Innovation’s President and CEO, Cora Mirikitani. Both Jaime and Margaret were commissioned to produce essays based on this conversation (Click here to read Jaime’s commission, click here to read Margaret’s commission).
    • Rebecca Ratzkin (WolfBrown) and Marcy Hinand Cady (Helicon Collaborative) presented It’s Not About You…It’s About Them, A Research Report: What Motivates Bay Area Donors to Give to the Arts and Artists based on findings from the Fund For Artists Matching Commissions programs at The San Francisco Foundation and the East Bay Community Foundation. The study details individual giving trends to small- and mid-sized arts organizations and artists as compared to larger institutions and donors to major foundations (Click here to download a PDF of the preliminary research highlights, click here to download a PDF of the report).
    • Diane Sanchez, Director of Grantmaking & Donor Services at the East Bay Community Foundation, moderated a discussion on innovative approaches to engaging communities, audiences, and donors with Perry Chen (KickStarter), James Rucker (Color of Change) and artist Philip Huang. Philip stole the show when, instead of describing how he raised funds for his Matching Commission, he enlisted the audience’s (and artist Michelle Tea‘s) help in fundraising for a new proposed project, Witness the Fitness (video below)

    • Jon Funabiki, professor of journalism at San Francisco State University, led a conversation with Laura Sydell (NPR) and Hugo Morales (Radio Bilingüe) about the implications of demographic and technological changes on arts and cultural organizations and how organizations are adapting to the evolving environment.
  • February 18, 2010 – The arts community joined San Francisco Giants President Patrick J. Gallagher, Kaiser Permanente Executive Vice President Bernard J. Tyson, and San Francisco Convention and Visitors Bureau Arts & Culture Marketing Director Lisa Hasenbalg for Not (Just) Another Arts Marketing Workshopat The San Francisco Foundation and online through a webinar. Attendees heard a variety of new ideas and learned what the worlds of sports, healthcare, and toursim marketing can offer to the arts.
    • Click here to download a PDF version of Lisa Hasenbalg’s presentation about tourism marketing.
    • Click here to download a PDF version of Bernard J. Tyson’s presentation about health marketing.
  • March – June 2010 – Responding to art organizations’ need for clear and effective training in social media, Leveraging Social Media:

    Leveraging Social Media attendees

    Understanding the Strategy and Putting it into Practice gave a select group of twenty-five Bay Area arts organizations the opportunity to learn directly from Beth Kanter, blogger, social media guru, and co-auther of The Networked Nonprofit. Beth taught participants how to develop effective social media strategies and guided them to develop specific “listening and engaging” experiments to learn how to harness social media first-hand. The program was offered free of charge thanks to the support of The Wallace Foundation Cultural Participation Initiative and The William and Flora Hewlett Foundation and was organized by Theatre Bay Area. Participating organizations attended two full day workshops on April 2, and June 11, 2011 at the Contemporary Jewish Museum as well as two interim webinars to check in with Beth about their social media projects. These organizations included:

    1stACT Silicon Valley
    42nd Street Moon
    Active Arts Theatre for Young Audiences
    AXIS Dance Company
    Chhandam Chitresh Das Dance Company
    Cinnabar Theatre
    City Lights Theater Company
    Contemporary Jewish Museum
    Frameline
    Headlands Center for the Arts
    Jewish Community Center of San Francisco
    Joe Goode Performance Group
    La Peña Cultural Center
    Marin Theatre Company
    Opera San Jose
    Osher Marin Jewish Community Center
    San Francisco Gay Men’s Chorus
    San Francisco Girls Chorus
    San Francisco Jewish Film Festival
    San Francisco Performances
    San Francisco Shakespeare Festival
    SFJAZZ
    Shotgun Players
    Youth Movement Records
    Z Space Studio

  • May 16, 2010 – Musicplus: Skill Building for Musicianswas a free seminar held at the James Irvine Conference Center in Oakland, CA that gave musicians and composers a chance to sharpen skills and network with each other. Session topics included emerging technologies to promote and distribute work, hybrid business models and the new economy, new licensing and revenue generation opportunities, regional funding and arts resources, and the basics of home recording. In addition to The Wallace Foundation Cultural Participation Initiative partners TSFF and GFTA, the collaborative event was made possible by the East Bay Community Foundation, Future of Music Coalition, The William and Flora Hewlett Foundation, LINC (Leveraging Investments in Creativity), and The James Irvine Foundation. For more information and to watch archived webcasts of sessions, please click here.
  • June 17, 2010 – What is a Person? was held at the Contemporary Jewish Museum (in conjunction with their LINK program) and featured internet pioneer Jaron Lanier, author of and inventor of the term “virtual reality.” In the workshop, he discussed the implications of new web technologies on education, community, and artistic expression in the 21st century. Please click here to read more and to watch video documentation of Jaron’s lecture.
  • November 12 – 15, 2010 – Twenty five individuals from Bay Area arts organizations were selected to receive scholarships to attend the National Arts Marketing Project Conference in San Jose. This annual conference draws nearly 1,000 of the country’s arts marketing and fundraising professionals and covers a wide-range of marketing topics, including technology, revenue generation, and audience engagement. Featured speakers at the 2010 conference included:
    • Chip Conley, Author of Peak: How Great Companies Get Their Mojo from Maslow; Founder and CEO, Joie de Vivre
    • Chip Heath, Co-Author of Switch: How to Change Things When Change Is Hard and Made to Stick: Why Some Ideas Survive and Others Die
    • Susan Medak, Managing Director, Berkeley Repertory Theatre

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Cultural Commissions – Colman Domingo

The Wallace Initiative commissioned working papers/artistic responses from Bay Area artists about deepening, expanding, and diversifying cultural participation, hoping to generate new ideas and spark conversations between regional artists and arts organizations.

Tony-nominated actor, writer, and director Colman Domingo explores the issues of emigration amongst  San Francisco’s ever-shrinking African American acting community. In his self-proclaimed “META-THEATRICAL,” absurdist short script, The Big Idea, he imagines an uprising of the last of the African American Acting Community of San Francisco and the Bay Area.

Don’t you ever want to be a part of a community that has more folks that look like you? You are intrinsically understood. I couldn’t afford to live here anymore. I was losing. I was becoming so neutral. Theater was losing its color.

Click here to download a PDF of The Big Idea.

To view this PDF, you will need Adobe Reader. Please visit the Adobe website to download the latest version for free.

 

Making Sense of Audience Engagement from WolfBrown now available

Making Sense of Audience Engagement

A New Publication from WolfBrown

wolfbrown.com/makingsense

A new report from WolfBrown takes stock of the growing body of practice in the arts sector referred to as “audience engagement” – a bewildering array of programs and activities such as lectures, open rehearsals, docent tours and online forums – employed by arts groups to deepen participation and encourage repeat attendance.

To help make sense of this rapidly developing landscape, WolfBrown surveyed arts practitioners and conducted case study research on a wide range of engagement practices. The report, authored by Alan Brown and Rebecca Ratzkin, advances several theoretical frameworks for understanding audience and visitor engagement, and includes 11 brief case studies.

A cornerstone of the report is the “Arc of Engagement,” a simple model describing the stages through which audience members travel in constructing unique experiences around a shared work of art.

Helping audiences and visitors make meaning from artistic work is a major focus in the field right now, motivated by the need to attract and retain audiences in an increasingly competitive marketplace. Arts organizations hoping to reap the benefits of an engaged audience must think holistically about managing the total experience, from the moment a decision is made to attend, to the days, months and years after the event.

Engaged audiences are a cornerstone in the foundation of a strong arts ecosystem.


Making Sense of Audience Engagement was commissioned by The San Francisco Foundation and Grants for the Arts/San Francisco Hotel Tax Fund as part of the two funders’ collaborative capacity-building efforts, supported by The Wallace Foundation through its Wallace Excellence Awards Program.

Opera for Everyone: Thoughts from the San Francisco Opera on their Wallace project

ImageIn our Wallace proposal General Director David Gockley stated, “Opera is for everyone. We have to find ways to get people into an entry-level opera-going experience in a way that makes sense to them economically and environmentally. We must to get them on a track that goes on to more committed opera-going.”

One of the primary goals of San Francisco Opera’s Wallace Excellence Award was to cultivate demand and increase participation in our free opera simulcasts — and to see whether these events would lead to paid attendance at live performances at the Opera House.

In the fall of 2007, broadcasting a live performance from the stage of the War Memorial Opera House to AT&T Park was a new way to introduce people to the art of opera through a welcoming, easy to attend, popular and free event. Mr. Gockley had produced the first San Francisco Opera simulcast in May 2006 on the opening night of Madama Butterfly, bringing 5,000 people to Civic Center Plaza. It was soon followed by Rigoletto simulcast to both Civic Center Plaza and Stanford University’s Frost Amphitheatre in October 2006 and by Don Giovanni to four indoor venues (Yerba Buena Center for the Arts; Cal Performances/Zellerbach Hall at UC Berkeley; Wells Fargo Center for the Arts in Santa Rosa; and the Mondavi Center for the Performing Arts at U.C. Davis), in June 2007.

The Opera’s grant proposal to The Wallace Foundation was submitted as we prepared for our first live simulcast to AT&T Park, home of the San Francisco Giants, a beloved Bay Area venue, centrally located, easy to reach and attractive to younger audiences and people with families.

At most previous free community events the Opera had captured between 1,000 and 2,000 attendee names. From the first AT&T Park simulcasts, we took advantage of the ballpark’s controlled entrances by offering early access to the ballpark and automatic entry into a drawing for a “Night at the Opera” in exchange for signing up on the Opera’s website. We advertised the simulcast sign-ups in print media, on the radio, in bus stop shelters, by direct mail and stack- dropped postcards, online and through an ongoing email campaign to our database.

As a result, the number of names we captured for future marketing of performances at the War Memorial Opera House was exponentially increased. For Samson and Delilah, of the 10,047 who signed up online for the simulcast, 68% — 6,874 households — were new to our database. For the most popular of all simulcast titles, Aida, in 2010, 21,350 households registered, of whom 10,033 (47% of the total) were new to our database. From Samson in 2007 through Turandot in 2011, we added 48,542 new households of potential buyers.

Over this same timeframe, more than four thousand of these new patrons purchased $1.4 million in tickets through onsite and follow-up discount offers (including first-time single ticket and subscription purchases and repeat purchases through the years), a strong demonstration of the power of the art form to attract new paying customers through a free event, if the introduction is strong enough (a popular title presented in an inviting venue), contact information is rigorously gathered, and the initial “special offer” is attractive enough — in this case a 50% discount.

Each simulcast was marked by incredibly joyful and respectful responses from the large ballpark crowds experiencing the live opera performance on the big screen. It was thrilling to witness 32,000 people watch a performance of Aida in almost total silence, erupt in cheers at the end of the Triumphal March, and then stand to applaud through the end of the curtain calls, before thanking the staff and volunteers on their way out of the stadium.

As part of our Wallace plan, we surveyed those who had signed up on the website for their reactions to the event, asking how they had learned of the simulcast, why they attended, how much they enjoyed it, and if they were likely to recommend SFO simulcasts to others. We asked if

they were interested in going to a performance at the Opera House in the future and about perceived barriers to attendance. Analysis of survey responses helped us refine our simulcast marketing plans, gave us insights into patron interest in and exposure to opera beyond the simulcast, and their experience with opera in general and San Francisco Opera in particular. Over the years, simulcast audiences have grown more diverse, slightly younger and somewhat less familiar with opera than our first simulcast audiences. As noted above, many of them followed their attendance at a simulcast with attendance at the Opera House. We are tremendously grateful to The Wallace Foundation for helping make that possible.

The next San Francisco Opera “Opera at the Ballpark” simulcast to AT&T Park will be Verdi’s Rigoletto on Saturday evening, September 15, 2012. We hope you’ll join us!

Cultural Commissions – Lily Khazzari

The Wallace Initiative commissioned working papers/artistic responses from Bay Area artists about deepening, expanding, and diversifying cultural participation, hoping to generate new ideas and spark conversations between regional artists and arts organizations.

Traditional arts (sometimes referred to as ‘folk arts’) encompass a myriad of performing and visual art traditions passed down through generations of peoples throughout the world. Many of these art forms have been threatened, silenced, or neglected throughout history; sometimes falling into oblivion because of genocide or suppression. In this age of instantaneous media and vast demographic shifts, how can traditional arts and artists continue to grow their audiences and ensure a future for their art forms?

Lily Kharrasi, dance ethnologist and freelance writer, has spent her life steeped in traditional arts. She is currently the Living Cultures Grants Program Manager at the Alliance for California Traditional Arts (ACTA), and has worked with the San Francisco Ethnic Dance Festival, in arts education, and in the refugee resettlement field. In her short essay, A Banana Peel is Good for Headaches, Lily explores the resiliency of traditional arts communities.

…Traditional arts are often hidden from the larger public view, not so much because they don’t want to share practices with outsiders, but because the driving force behind such arts is internal to the communities that practice them…

Please click here to download a PDF of A Banana Peel is Good for Headaches.

Cultural Commissions – Peggy Weil

The Wallace Initiative commissioned working papers/artistic responses from Bay Area artists about deepening, expanding, and diversifying cultural participation, hoping to generate new ideas and spark conversations between regional artists and arts organizations.

All commissioned artists were asked to respond to a very specific statement, “How rapidly changing demographics and/or evolving technologies impact the ways in which artists and arts organizations across the region connect with audiences.” What better way to explore technology than with … technology?

Peggy Weil

Peggy Weil, digital media artist and professor of interactive media at University of Southern California, deconstructs the above statement in a hypertext diagram and essay that pull together case studies  from arts organizations and artists.

This diagram (a nod to Robert Cumming’s work in the show 9 Artists / 9 Spaces) serves as an organizing mechanism to what I saw as a bewildering number of threads embodied in the Foundation’s inquiry. I broke it down to an interlocking set of topics and essays, each accessible via the graphic diagram.

Please click here to begin exploring Peggy’s hypertext diagram online.

Cultural Commissions – D’Arcy Reynolds

The Wallace Initiative commissioned working papers/artistic responses from Bay Area artists about deepening, expanding, and diversifying cultural participation, hoping to generate new ideas and spark conversations between regional artists and arts organizations.

At some point in the (near?) future, the world’s supply of carbon-emitting fossil fuels (oil, gas, coal) will no longer be readily available. Peak oil is the term used to describe the point in time when the maximum rate of global petroleum extraction is reached and the rate of carbon-based fuels enters terminal decline. It’s an issue that composer D’Arcy Reynolds can no longer ignore!

It seems to me that the importance of the post carbon shift and the impact of our global culture on our environment is of such tremendous significance, that everyone needs to pitch in to contribute to the solutions. As artists, we can’t just stay in our studios, but need to engage with these issues, and use our art in service of this larger mission.

D’Arcy realizes that, as an artist, there is only so much she can do to address issues of peak oil. However, in her essay, Post-Carbon Artist, D’Arcy empowers artists to raise awareness about the issue and to help create creative solutions based on community, cooperation, and futuristic thinking.

The essay also includes resources for artists or other individuals looking to impact change and get involved. Click here to download a PDF of Post-Carbon Artist.

D’Arcy Reynolds is a composer living in the Bay Area, and has received numerous commissions and prizes from the American Composers Forum, Meet the Composer, ASCAP, and the American Music Center. D’Arcy is the founding director of the San Francisco Chapter of the American Composers Forum, and is currently composing a new work based on the shift to a ‘post carbon world’ for her composer residency at the San Francisco Community Music Center.

To view this PDF, you will need Adobe Reader. Please visit the Adobe website to download the latest version for free.

Wallace Excellence Awards – SFMOMA

Wallace Excellence Awards provide support to exemplary arts organizations in selected cities to identify, develop and share effective ideas and practices to reach more people.  Eleven arts organizations with budgets over $1 million received these four-year grants.  Findings from their projects are reported here.

In 2008, the San Francisco Museum of Modern Art (SFMOMA) received a Wallace Foundation Excellence Award.  Our grant of $778,000 over four years has supported researching, developing, and marketing new and expanded on-site, online, and community programs and resources for families with young children (ages 4-11).

Prior to the Wallace grant, SFMOMA offered programming for families once a month (including two annual, large-scale Family Days).  Aside from the occasional family guide, we didn’t really have any family resources to speak of.  Dedicated marketing resources and money to conduct ongoing formative and evaluative research were a necessity/luxury we could rarely afford. The Wallace Foundation has enabled us to not only expand on-site participatory art activities led by artists and educators, create both print and online interpretive resources, including multimedia programs for families, and begin to establish lasting relationships with community organizations, but also the opportunity to devote resources to market and promote family programs and funds to conduct research about our family audiences.

SFMOMA - Family Programs

Beginning in 2008, we doubled the frequency of our family programs and this past July, we began offering family programs every Sunday.  Family Sundays include a range of activities—from artist-led art projects in the Koret Visitor Education Center, to docent-led family tours of our exhibitions, to educator-led gallery activities, to book readings and film screenings.  Themes for our Family Programs now change seasonally rather than monthly.  This change came about after focus groups informed us that given their busy schedules and the range of offerings in San Francisco, it was hard for families to imagine visiting the museum more than three or four times a year and, as such, did not expect the Museum to change its programs more frequently than that.  By offering programming every Sunday, we are better able to promote Family Programs: “Every Sunday is for Families at SFMOMA!”

SFMOMA - Family Guides

Besides offering regular programming, we have also created various resources for families that are available at the museum (and online) all the time.  So far, we have published family guides for seven works from SFMOMA’s collection, with two more on the way.  Not only are these guides available in the Koret Center, they are also downloadable as pdfs from www.sfmoma.org/families.  Additionally, we produced an “all-purpose” family guide, called Not Your Ordinary Treasure Hunt.  This guide engages families in interactive and kinesthetic activities that are not geared to specific works.  In this way, the guide can be used repeatedly and regardless of what works are on view in the museum’s galleries.

One of the highlights of SFMOMA’s new family resources is the interactive feature, The Country Dog Gentlemen Travel to Extraordinary Worlds, which premiered in SFMOMA’s Koret Center as the centerpiece of Family Day on March 15, 2009, and was quickly and enthusiastically embraced by families.  The feature is comprised of animated stories with accompanying activities related to works in SFMOMA’s collection. Each of the activities allows visitors to submit their creations to the Dog’s Best Friends Art Gallery, a collective online display space, and to email a link from their work to a friend or family member.

Most recently, we launched SFMOMA’s mobile multimedia tour for families, Country Dog Gentlemen Gallery Game.  Initially, we assumed we would create a more traditional multimedia tour, focusing on specific, family-friendly artworks in the collection.  As it turns out, we decided on a very different approach.  The end result is more of a game than a tour, with goals, team-based activities/tasks to perform, and a reward for rounds completed.  The Country Dog Gentlemen Gallery Game does not focus on specific artworks; instead, it asks families to explore works of art they encounter (“Find the largest artwork in this gallery. . . ”), while following a set of specific, yet random, navigational directives (“When you’re ready, sidestep like a crab into another gallery”).  This open-ended approach enables families to play the game over and over again.

SFMOMA - The Country Dog Gentleman Gallery Game

The research that was made possible by the Wallace Foundation, has been crucial to the development of our family programs and resources. We probably know more about our family audience than we do about almost any other audience to SFMOMA.  Besides knowing the demographics, visitation patterns, and membership status of our family visitors, our research firm, Randi Korn and Associates, used K-cluster analysis to develop visitor types based on local parents’ ratings of preferences for experiencing art, family programs and SFMOMA.  From this analysis, three family clusters were identified at SFMOMA— Enthusiasts, Art Lovers, and Socials.

Knowing about these family types and their inclinations, has influenced our decisions about programming and communications strategies.   For example, Socials (25% of our family audience) feel the least comfortable visiting art museums with children, report that they don’t feel particularly knowledgeable about modern and contemporary art, and are most likely to be first-time SFMOMA visitors, coming to the museum to attend a specific program or event.  This knowledge influenced our decision to staff a Family Programs welcome table in the museum’s main lobby every Sunday.  This table is instrumental in enabling us to reach out to families as they enter the museum, making them feel welcome and informed.  At the table, we are able to direct families to programs and resources they can take advantage of during their visit.

SFMOMA - Family Table

As you can see, SFMOMA’s commitment to families has come a long way since 2008.  Not only has the range of family offerings and communications expanded, but the importance of the family visitor to the museum has grown as well.  The fact that just this week (October 11), a new Family membership package has become available, with enhanced benefits especially for families, is testament to SFMOMA’s commitment to better serve Bay Area families.  Furthermore, as we plan for the future of an expanded SFMOMA, we’re striving to create not only a building with new family-friendly amenities, but a place that inspires future generations to appreciate and enjoy modern and contemporary art.

To learn more about family programs at SFMOMA, visit our website at www.sfmoma.org/families and follow us on Facebook at www.facebook.com/SFMOMAfamilies.

Julie Charles is the Associate Curator of Education at the San Francisco Museum of Modern Art.

Art Bar – The Third Hour Shakes

TAKE this Dance. SHAKE this Song.

That is what my co-curator Eboni Senai Hawkins has titled the third hour of The Art Bar, our “get-a-way where you can network, soapbox, entertain, be entertained, inform, initiate, and imbibe” at the Beyond Dynamic Adaptability conference, next Monday, October 24, 2011.

I am going to get out of the way and let the performers speak. First Eboni’s poetic description of what The Art Bar will morph into between 1:30-2:30pm:

We Have Questions, You Have Answers
Push to change the way your brain comprehends performance.
Six movement artists use the full arsenal of their skills to connect, rebel, skirt around, confront, and bear witness.
You will be asked how you feel and then asked to shout, sing, and dance it.
You will be asked to follow and to lead.
Step outside your head.
Ponder your feet, your hands, your solar plexus.
BE ready so you don’t have to get ready.
Accept Eboni Senai as she prepares the path with a question and a palatable offering.
Trust Yeni Lucero as she intuits your habitual gestures and flips them on end.
Rely on Nicole Klaymoon to inspire play in your limbs and activate your imagination.
Act out with Michael Velez as he invites you to a game and unravels your sense of what you know to be true.
Make your piece/peace with Brian Gibbs as he captures your moving image and dances with it, without you.
Respond to Anna Martine as she cooks up your thoughts and gives them rhythm.

Anna Martine will encourage participants to examine the difference between what they do, what their job is, and how that makes them feel. After collecting that input she will compile them into a call and response song that engages participants.

Yeni Lucero-Rivera will experiment with words and play with the concept of “Simon says.” Participants will explore their own psyche and mirror their own gestures and possible judgments. The experience will capture the emotion that comes with movement.

Art Bar band musicians: John Calloway, Karamo Susso, Ruthie Price, Michael Shiono, and Todd Brown will interact with the dancers via their music. You will able to interact with your body.

To find out if there is still space for you at this one-of-a-kind gathering go to Beyond Dynamic Adaptability.

Art Bar – The Next Two Hours

Lil' Miss Hot Mess

Tomorrow is the last chance to register for Beyond Dynamic Adaptability, which promises to be like no conference you have ever attended. The Art Bar is just one part of the program that distinguishes the event. As promised here is a look at the second hour of the Art Bar.

At some point you may have heard Alan Brown, the renowned researcher and Principle at WolfBrown, share his insights in some study, on a panel, stage, or breakout session. You have never heard him in conversation with Lil’ Miss Hot Mess – arguably San Francisco’s most outspoken drag queen known for blending camp, choreography, and radical politics. Unless this dynamic duo takes the show on the road this second hour at the Art Bar will be a once in a lifetime happening.

The Art Bar band is back with the second-hour addition of the keyboard and flute master John Calloway and amazing drummer Ruthie Price.

Musicians in the Art Bar band offer what might be a first life-time opportunity for many attendees. You can speak, rant, or sing your opinion in the open mic with the musical instrument/s of your choice. You want a hip-hop bass beat behind your as you make your point just tell Michael Shiono and he will back you up.  Want a classical Latin flavor on keyboard just tell John Calloway. The entire band can be your instrument. Todd Brown will “model” this in the first hour of the Art Bar in his “musicical conversation” in response to the Plenary.

How many ways can you participate? Beyond Dynamic Adaptability is pushing the limits on how audiences and presenters engage and interact, including how that happens at a conference.  You will be able to document your ideas through a Video Confessional Booth with Dr. Zebroski or succinctly express your views via haiku. Performers will be collecting your haikus and performing them throughout the day both in the Art Bar and in the nooks and crannies of the Memorial Marines Club, but we are open to your pre-conference haikus @WallArtsSF/#participarts.

Don’t remember the formula or spirit of the haiku form? Go to haiku for people at www.toyomasu.com for a refresher and more. If you need permission to diverge from the rules see www.wisteriapress.com/haikureport.pdf.

I will serve as the metaphorical “sacrificial haiku lamb” here with only the second haiku I’ve written in my life:

Change flutters bird-like
Into our sometimes still air
Shifting thought currents.

See you in the virtual world until next Monday. For more information, and to register, please visit the event website.

 

ABOUT THE INITIATIVE

In 2008, The San Francisco Foundation (TSFF) and Grants for the Arts/San Francisco Hotel Tax Fund (GFTA) embarked on a four-year funding partnership to encourage systemic and sustainable structural change in the relationships of Bay Area arts organizations to their audiences, supported by the Wallace Foundation. Community offerings during the grant period (2008-2011) included seminars, workshops, large public convenings, implementation grants, development of a regional shared mailing list, and expansion of the SFArts.org website.

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