Meeting minutes...

This is not my most exciting blog ever but here are our meeting minutes from the partner meeting we held last month... The biggest and most exciting thing is that we are now moving forward with creating community shop space at the Rude Mechs venue and opening up community storage space at the SVT venue...

Co-op Partners Meeting, July 18^th 2012
Present: Connor, Eliot, Thomas (Rude Mech), Joe (St Edwards University), Zac, Jenny

The goal of the meeting was to discuss with partners what would be useful to them in creating a relationship with the Co-op and exploring and discussing ways that the larger budget partners can help make the Co-op more sustainable. Are the bigger organizations interested in making an annual contribution to the Co-op and what would make that viable for them?

Joe from St Eds said that they are not interested in making an annual contribution or having a "membership" but that they are willing to let the Co-op manage the rentals of the St Eds stock and keep the profit. The details need to be worked out but Joe said he would be happy to get an Office Depot gift card back from the Co-op at the end of the year and the Co-op keep all profits from the rentals. For example, Joe would love for the Co-op to manage the rentals for their prop stock. Joe would also like to give the Co-op a lot of furniture that they no longer need or use. They need more storage space but for them to buy in to the Co-op storage it would need to be closed to St Eds.

Eliot, who also works at St Eds, is going to help complete the St Eds inventory at the same time that the Co-op inventory is being completed. Both inventories are due by August 31^st.

The basic idea being that the Co-op would almost be a consignment shop for the St Eds inventory. Managing other peoples stock and rentals.

Thomas talked about Scott Guthries desire and intention to create a rentable and usable scene shop space out of the CenterCenter at the Rude Mechs space. The lease would be $300 a month. The talk started to revolve around the idea that SVT could become the main storage space and Rudes could house the shop space. The shop space could be rented out and companies could rent out parts of SVT for their storage, this can potentially create income for the Co-op right away. Scott would be the person in charge of managing the Shop. He wouldn't be paid by the Co-op but would be paid through his contract work and some money from scene shop rentals. The Co-op would cover 1/2 to 2/3 of the rent for this shop space.

The next steps are that Connor needs to talk to Scott about collaborating on this scene shop idea. We need to create a system of how the space and the rental rate of the space is shared. The Co-op also will approach Ia and Rupert and PaperChairs about their storage needs and interest in taking up some space at SVT.

The idea was discussed to use the remaining storage budget to pay for tool repair and rent at the CenterCenter for the new shop space.

Jenny Larson, Salvage Vanguard Theater and The Austin Scenic Co-op

The Myth of the Scarcity Economy?

The Myth of the Scarcity Economy?

This past weekend I was in Boston for the TCG National Conference called "Model the Movement." I loved Seth Godin. It was a liberating idea to turn an organizations marketing attention away from the masses and back to the tribe. I enjoyed DJ Spooky, he was very intelligent and I enjoyed listening to him nerd out about the “theater of molecules.” I also always have a great time reconnecting with friends new and old from around the country that I see only once a year, usually at the conference. That said there was one particular idea this year that stuck with me after the conference. The idea was that we must fight the myth of the scarcity economy, or simply, when we work together, and we put generosity first, we will find sustainability. Even more than finding sustainability, I think we can find that it is easier to roll with the punches, the ups and downs, when we approach things from a perspective of generosity instead of fear of depleting resources.

In line with this idea of “rolling with the punches” there is something about the word “sustain” that just frankly rings false. The world is in a constant state of flux, beginnings and transitions. So I guess the main point I come back to, is that holding on too tightly, is actually the thing that causes harm. We have this idea that change and letting go are failures. The meditation I am taking away from this conference is to trust that there is enough for everyone.  That may perhaps require a change in how one measures “enough”… Side note: I know that the world is overwhelmed by suffering. There is poverty, there is hunger, there is an abundance of violence and neglect. I am, for this essay, talking about our relationship to our everyday lives as artists creating work in America. 

I was reading a book last weekend at the conference that brought up the myth of the scarcity economy in ones day to day life. The last break out session I attended in Boston was an update conversation with the Creative Commons, created by David Dower, Polly Carl, Jamie Gahlon, and VJay Matthews. The Commons consists of a New Works Map, New Works TV, and HowlRound. The HowlRound online magazine has been very successful. There have been a lot of really powerful and intelligent essays posted that created really charged conversations. At the break-out Polly brought up the “myth of the scarcity economy.” 

When I talk about a scarcity economy I am referring to the idea that there are a small and finite number of things in the world, and they are rapidly running out. By “things” I mean success, love, inspiration etc etc, and I also mean good reviews, sold out houses, feature articles, you get the idea... I think we have a responsibility to really fight against that habit of thought in our work. The generosity that is the platform for the Creative Commons is the thing that inspires me. I think that the Scenic Co-op in Austin is trying to achieve and exemplify that principle of abundance and generosity.  

The business model we practice at Salvage Vanguard Theater (SVT) is also trying to exemplify this sharing and collaborative approach. The SVT hub contains the Co-op and SVTs theater productions, Trouble Puppet Theater, Gnap! Theater Collective, Scriptworks, SpankDance, Merlin Works improv classes, and Church of the Friendly Ghost experimental music curators. These groups make up a consortium of arts organizations that run the SVT hub as a family of sorts. It’s a co-op. Each organization takes an area of responsibility in running the hub. Trouble Puppet does small maintenance tasks, Church fields renter tech support calls for sound and light issues, Gnap! keeps the supply closet and concessions stocked. For participation in the consortium, they are given scheduling priority, free rehearsal space and workshop space, storage space, office space, cheaper rental fees, and full use of any tech in the space including our projectors. SVT, like most other companies with budgets under $500,000 does not have a very large staff, and will not be able to afford expanding or growing the staff any time soon (though we take small steps each year) but with this model, we are able to stay afloat. More than just staying afloat, we are thriving.

Often times, we can look around ourselves and become terrified by the shrinking budgets and growing competition for grants and foundation gifts, and yes we are in fact in a scarcity economy when you look at just the numbers, and just the dollar signs. Yes, we are in a recession. Yes, we are faced with a digital age and more and more people spend their entertainment dollars on movies and HBOGO. I believe however that perspective is everything. It is so important to remember that one success does not in fact deplete your chances for success. One brilliant idea does not mean there are less brilliant ideas to be had in the world. I think that the more we work together and pool our resources and move forward with a spirit of generosity in all areas of our craft, the more likely we are to see that generosity returned to us again and again. 

In the break-out group for artistic directors with budgets under $500,000 at the TCG Conference, the meeting became an information sharing session. At one point the moderator said "all this resource sharing, its spooky" and that lead to a really wonderful conversation about the fact that in times of recession, in times of scarcity, the only thing that we can do is lean on each other. Sharing is the only way forward. Generosity and collaboration are the things, ultimately, that will be able to sustain us, or, as I said earlier, even more than sustain us, working together will make it easier to let go and allow the inevitable changes that await us.

Jenny Larson, 
Salvage Vanguard Theater
The Austin Scenic Co-op

Hey, I’m Kate Valk, and this is an update on our “A-ha!” project at The Wooster Group. We are experimenting with several new formats for our proposed artist-interview dialogs. Below are some prototypes:

1. Investigative Profile: “Prince Wooster” follows one of the original artists still residing in our transformed SoHo neighborhood.



2. Casual Situation Interview: Upstairs at The Performing Garage in my dressing room, co-host Zigniew Bzymek (“Z”) and I conduct a “couch chat” with Wooster Group producer Cynthia Hedstrom. “sugar high episode 2” is a model we’d like to use with outside artists.



3. Phone Tap Interviews: Here Wooster Group director Elizabeth LeCompte talks to filmmaker Ken Kobland over a phone tap about his new film, THE TOY SUN.



4. Visiting Artist Profile: For koosil-ja/danceKUMIKO’s production of INVISIBLE/VISIBLE we sent Z to profile the artists. He investigated the title of their piece.



5. Guest Spots: We want to feature the work of other video artists on our new blog. This video is an experiment with public interface where we sent out an “open call” for guest artist videos...



6. Collaborations: We’re teaming up with Young Jean Lee on a new web series for the blog. This video presents “you are there” documentation of the artistic process at its inception.

Next Steps: The New Kid on CTG’s White Paper

“Plans are only good intentions unless they immediately degenerate into hard work.” – Peter Drucker

In December 2011, I received a copy of Center Theatre Group’s white paper on professional training programs for emerging theatre artists.

Here are possible reasons why they mailed me the report:

• I serve on the National Emerging Leaders Council and have been a core member of Emerging Arts Leaders/LA since 2005; 
• I am an alumnus of the Los Angeles County Arts Internship Program, have been a supervisor through the program six times and a Learning Community Hub leader twice; 
• I still act as volunteer staff for the organization where I interned in 2004, Circle X Theatre Co., a small theatre company similar to many profiled in the white paper as potential intern placement organizations; 
• I am an alumnus of Claremont Graduate University’s Arts Management program, whose students and faculty participated in the research process. 

It was like someone sent me a research paper about my life. Paging through the report, I saw familiar faces and quotations from friends. More importantly, I saw my career path reflected in the data and recommendations.

Four months later, I joined Center Theatre Group as the Educational Programs Manager, focused on the training, support and development of emerging, young artists and arts professionals. It is a distinct honor to build on the work done by Patricia and Leslie to provide professional training programs for Los Angeles’ next generation of theatre leaders.

Substantive, hands-on experience within a theatre company—large or small— provides theatre management students with a chance to take their knowledge from “page to stage.”

Working for a theatre company while pursuing my Masters allowed me to take what I learned on Monday and apply it to the real world on Tuesday… and then ask why it didn’t work on Wednesday.

Peter Drucker would be proud: CTG has already begun the “hard work” of implementing aspects of the white paper. This spring, two students from local arts management programs became the organization’s pilot class of Graduate Scholars.

In the program evaluation they created for CTG, Jessie Randall from CSU Long Beach’s Theatre Management program and Julia Baumgartener from CGU’s Arts Management program corroborated many of the ideas presented in the white paper:  

Nearly all the hypotheses presented are extremely accurate representations of the professional and curricular needs of graduate students in arts/theatre management […] The ideal internship would establish mutual benefit for the organization and the interns, so it is valuable to examine the two groups’ diverse needs – where they align and where they diverge.

Jessie and Julia’s recommendations included implementing a competitive application process, focusing on project-based learning opportunities, and integrating graduate scholars within their departments (literally and metaphorically, as a shortage of desk space often leaves our interns in odd locations). We’re taking their suggestions and looking ahead to future classes of Graduate Scholars.

Center Theatre Group will continue to use the data gathered through the MetLife/TCG Ah-Ha! Program to shape our professional training programs.

Thank you for the chance to think, to learn, and to grow. Now we’re rolling up our sleeves. Let the hard work begin!

Camille Schenkkan is the Educational Programs Manager at Center Theatre Group.  Email her at cschenkkan@CenterTheatreGroup.org. 

For more information about Center Theatre Group's Ah-Ha! research into what theatres can do to bridge school and work, please click here.

Why Not?

Why Not?

I had the pleasure of traveling to Baltimore this May (courtesy of the Center for International Theater Development). While I was there I went to a lot of arts venues and centers and talked to several area arts advocates. The big thing that I walked away with after this trip was that Baltimore has an arts scene that is very socially focused and justice conscious. These artists all seemed very passionately connected to community, and to improving their communities. I was particularly impressed with the space initiatives happening in Baltimore and wondered how we could transplant these ideas to Austin.

The non-profit service organization Jubilee was very inspiring. ( http://www.jubileebaltimore.org/) Their main focus was to create artist housing in artist neighborhoods as a means of stopping the rising wealth and interest in those communities from driving out the poor artists who created that very vibe that is attracting people. Every city in America deals with this gentrification and the results, the patterns, are always the same. Artists move to poor areas and start creating life and vibrancy. The market values go up, the rich move in, the artists are shuffled off to the next poor neighborhood. It was exciting to hear about and witness organizations actively trying to stop that tedious pattern.

The other space that really impressed me was the Creative Alliance. (http://www.creativealliance.org/) The space had a bar and restaurant, two galleries, a performance space, 6 artists studio apartments, and classroom space. This sort of multi-use arts facility is really exciting. It is such a beautiful example of how collaborative creative spaces can work and thrive in their communities.

After my week in Baltimore I feel much more compelled to push for deeper conversations and creative problem solving in terms of our own shared resource space. It feels like the right path to follow in terms of the Co-op and some of our ideas about a giant shared resource center, with shop space, storage space, classroom space etc etc. Last month I talked about dreaming big, this month I was inspired by the city of Baltimore to say “why not?” and really get organized about making these dig dreams happen.

Jenny Larson, Salvage Vanguard Theater/ Austin Scenic Co-op

A co-op can dream, can't they?

This month has been full of exciting conversations with lots of creative dreamers.

I met with one of the leaders of the Austin Creative Re-use. ACR is basically the same sort of program as the Austin Scenic Co-p but its for visual artists. I also had a conversation with a few film industry folks discussing ways and interest in creating a film centric re-use center. The conversations all sort of melded into lots of big dreams about creating a giant creative re-use facility with storage space as well as shop space, studio space, and classroom space. In the next few months I am planning on coordinating a large meeting with the visual arts, theater, and film communities about how we can start to work together to make Austin a greener city with an emphasis on the arts and arts education. Lots of day dreaming and scheming...

The other energizing conversation that we had this month was with the theater companies that currently use the Co-op. We had a meeting to talk about implementing a membership and what that would mean, what it would cost, what the benefits would be, and if people would be willing to pay a membership. The consensus was that people would be willing to pay a membership if our services expanded. People really need shop space and storage space. They want a place for their extra set pieces and they want a place where they can paint and build. The plan as it stands now is to continue with a piece by piece rental structure, and then hopefully implement a membership in the fall, recognizing that most folks will not want to be members until we have additional space to meet their other needs.

With all of this dreaming and scheming the main thing that we have learned is that we need more space. We need a larger shop, we need more storage, we need studio space. There is not enough room at SVTs facilities alone to create the Co-op we want and the community needs... so the next steps are taking a long hard look at what steps we need to take as a community to creating this kind of giant re-use complex that we are all dreaming about...

Jenny Larson
Austin Scenic Co-op
Salvage Vanguard Theater

A note from Fairview's Principal on collaborating with a theatre

Our relationship with Northlight has come at a good time because I have very open teachers who see the value of having studentsparticipate in theatre workshops and attend professional theatricalperformances. Without buy-in from theteachers who will be asked to coordinate events and miss students for normalclasses, the success of our program would not have been as great. I think that it was critical to be involvedas the Principal to select lead teachers who I knew would be receptive to thistype of experience and would view it as a great opportunity for the studentsrather than an encumbrance on their curriculum.

The students at Fairview have greatly enjoyed the chance to be creative in a purposeful way when the artists have come on-site to discuss the plays and play several acting games. Each time, the kids are very active and I am surprised by the students who step up in this setting. Some times this has been the student who behaves timidly in the classroom, but can open up in a more creative environment. Each time our students have gone to see a production at Northlight, they are not only experiencing professional theatre, but building etiquette skills on how to purport themselves in this type of environment. Hopefully, events such as these, early on in their education life will spur a life-long appreciation for the theatre.

Finally, Fairview has a tremendous auditorium facility with updated sound and lighting systems. For the previous 15 years, the space had been dormant when it came to developing a middle school theatre production. This was viewed as a gaping hole in our otherwise robust extracurricular offerings. With the help of Northlight,we are in the second year of Northlight on Campus. This group has opened up a vehicle of school participation for an entire new sub-group of students and we are anxiously awaiting their second production in April of this year. The artists who have led this group have been wonderful to work with and have developed high quality experiences for the students. We have been extremely pleased with the relationships formed with students and the type of training received by participants.

-David Russo
Middle School Principal
Fairview South School, Skokie, IL