Schedule, April 15, 2012
See complete EALS 2012 Program (PDF) with bios/panels or 2012 Speakers page.
9:00–10:00, Registration
9:00–5:00, Coffee/Tea/Etc
10:00–11:00, Plenary Speaker: Chad Bauman
11:15–12:45 Panel 1: Breakout Session
i. Hitting the Target Audience: Keeping Up with Market Trends
ii. Reworking the Start Up
12:45–2:00, Lunch
12:45–6:30, Silent Auction
2:00–3:30, Panel 2: Breakout Session
i. Beyond the Bottom Line: Running a Non-Profit in a For-Profit World
ii. Creative Collaborations: What Works?
iii. Universal Visions: International Arts Management
3:30–3:45, Coffee Break
3:45–5:00, Panel 3: Arts Advocacy 101: Learn the Language
5:00–6:00, Closing Keynote: Adrian Ellis
6:00–7:00, Networking Reception
Panel Descriptions
Hitting the Target Audience: Keeping Up with Market Trends
Katzen, Room 112
A wise arts manager once told us to "know thy audience." These days, with prevalent social media use, smartphones and web 3.0, the level of engagement the average individual expects is constantly evolving and entertainment options are seemingly endless. Since the arts are a classic audience-driven field (after all, if a painter paints something no one sees or a singer only sings when no one can hear, does it matter?), arts managers must be savvy in attracting and retaining audiences. What are the best ways to do this? What are the marketing trends arts organizations must be aware of, and is it essential for us to follow them?
Reworking the Start Up
Katzen, Room 115
Why start from scratch? Every organization begins its life as a start-up fueled by an idea for something great. But how does it grow, change and morph into a giant performing arts venue or an intimate gallery space? When you decide to take the plunge and create something new, how do you defend that decision when there are already hundreds of thousands of incredible arts organizations that currently exist today? With the fierce competition for funding, is there more value in forming partnerships or exploring alternative funding options like micro-financing? What happens when you rework the start-up?
Beyond the Bottom Line: Running a Non-Profit in a For-Profit World
Katzen, Room 115
In this volatile economy, nonprofits are often last and hardest hit by financial downturns. How do they stay fiscally viable and mission-focused when faced with dwindling funding? Are there aspects of the nonprofit model that are advantageous when compared to the for-profit model, specifically concerning the arts? What features of for-profits would be beneficial to integrate into the nonprofit world? Is there a better way to manage arts organizations?
Creative Collaborations: What Works?
Katzen, Room 112
Working with others is a skill ingrained at an early age. We're taught to share, to help out and support each other...basically, to collaborate. Often, arts organizations must go back to those basics and learn to work with others in order to survive. It can be a tricky dance to partner with outsiders while remaining true to one's own artistic mission and vision, so how do we make these partnerships positive, fruitful experiences? What are some success stories of collaborative projects?
Universal Visions: International Arts Management
Katzen, Room 123
In a country with no cultural ministry, is cultural diplomacy a myth? As arts managers in an increasingly connected world, we will be challenged to navigate a global landscape and create mutually beneficial intercultural exchanges. What are some ways to do this? Looking through the lens of cultural policy, what are ways that arts organizations and presenters should interact with government agencies? How can we build bridges across cultural divides and overcome policy barriers?
Arts Advocacy 101: Learn the Language
Abramson Family Recital Hall
As arts managers and enthusiasts what can we do to advocate for the arts, both in Washington, D.C. — the center of policies and politics — and in our hometowns? Learn to make a case for the arts by effectively utilizing your personal experiences and knowledge and backing them up with data. What are the advocacy roles of arts managers, representatives of arts organizations and individuals, and how can we maintain successful relationships with the public and those who are in public office?
