The Millennials’ Orchestra: Master’s Capstone Presentation in Arts Management

Master's Capstone Presentation, AU Arts Management

Master’s Capstone Presentation, AU Arts Management

AU Arts Management Master’s Capstone Presentations – Spring 2013

AU Arts Management Master’s Capstone Presentations – Spring 2013

Emerging arts leaders from American University’s Arts Management program discuss more than a year’s worth of research and work on their Master’s Capstone projects. Presentations were made Thurs – Fri, May 2-3 & Mon, May 6, 2013.

  1. Master’s Capstone Presentations start today! The time has come.:) fb.me/2tm58WlmD
  2. T-minus 5 until the start of “Using Social Media Technology in Arts Organizations.” #engagearts
  3. Live tweet or follow along to “Using Social Media in Arts Orgs” 5/2 9am. Use #engagearts facebook.com/events/5232997…
  4. #engageart @artmansteven Master’s #AUCapstone (@ AU – Cyrus and Myrtle Katzen Arts Center – @americanu) 4sq.com/13P2IsT
  5. Social media strategy for the arts – think of it in the form of a pyramid. #engageart
  6. Marketing basics form the base of social media strategy for #engageart
  7. Social media is the second layer of the pyramid – @chadbauman social media is the “wild west.” Once out, can’t control it.
  8. @ArtsmanSteven is so kind! Acknowledging me as a key player and social influencer leading to a successful @EALSAU 2013 Thank you! #engageart
  9. @ArtsmanSteven is doing a GREAT job on his #AUCapstone presentation – I will have a lot to live up to tomorrow at this time. #artsrolemodel
  10. Social media marketing – the idea is that it will lead to ticket sales… Do you agree? #engageart
  11. Marketing and social media are NOT the same thing – try to separate them in your mind. Yes, part of mktg mix, but use for real engagement
  12. Consider the #engagement bottom line (I like that!) and then the financial bottom line. #engageart on social media
  13. Social media engagement (for engagement sake) good research and promotion = greater ticket sales in the #arts
  14. Don’t over-post, you’ll become white noise. #engageart
  15. Social media: not a marketing platform, it’s a connection platform! #engageart
  16. @CStarek That’s the beauty of Twitter, one feels, in this capacity: for continuing dialogue with supporters…!
  17. Social media is meant for creating a forum for #conversation #engageart (customer-centered approach!)
  18. For crystal-clear analysis of social media and strategy, @ArtsmanSteven – Killer capstone defense. #EALS2013 #AUartsmanagement
  19. Audience Q: Do all arts orgs need to use soc med? A: If you can’t devote time, it’s like inviting ppl to dinner & not showing
  20. Social media policy, planning, engagement strategy. Get everyone involved – artists, evangelists, mindful mktg
  21. #engageart @ArtsmanSteven confidently handled the tough questions from the audience. Great #AUCapstone presentation pic.twitter.com/8wtjiJnsMX
  22. @BoardSource discovered that only 1 in 5 boards are actually taking action to improve board diversity #AUCapstone by Anjali
  23. T -1 hour! #MillennialsOrch
    facebook.com/events/5228936… fb.me/2URfC58UP
  24. 63% of millennials volunteered for nonprofits. #MillennialsOrch
  25. 77% of millennials are interested in leadership roles. #MillennialsOrch
  26. 75% of millennials made a financial gift in 2011. A hidden pot if gold for fundraisers? #MillennialsOrch
  27. Live tweeting @CStarek capstone presentation about the Millennials Orchestra. #MillennialsOrch
  28. Millennials want to know “how my money will make a difference.” Be prepared to give that info. #MillennialsOrch
  29. @BaltSymphony Concerts with a Twist: themed concerts with an aim to the millennial generation. #MillennialsOrch
  30. @BaltSymphony looks into sleek, modern wardrobe design so musician don’t look so “stuffy.” #MillennialsOrch
  31. @BaltSymphony BSO Ambassadors. Engaging the evangelists and market influencers for a form of “viral marketing” #MillennialsOrch
  32. @CStarek the most important issue with millennials is trust. #MillennialsOrch
  33. Spend the time NOW building real relationships with millennials. They will me your major donors in the future. #MillennialsOrch
  34. Average audience member for BSO was 60 years old before there millennial engagement strategies. 😦 #MillennialsOrch
  35. Q: I’d there a connection for millennials to the core orchestral product, or only the “special” programs? #MillennialsOrch
  36. Q:” we have seen what millennials are and what they care about. What will the next generation care about?” #MillennialsOrch
  37. Congratulations to the emerging arts leaders who are graduating this May!!
  38. Reposition our argument for board diversity, rephrase in a way that matters to board members. In terms of fundraising. #AUCapstone
  39. Reframing rationale for board diversity. Smart, deep research by Anjali Lalani. #AUartsmanagement pic.twitter.com/TgyopJz0Ty
  40. Anjali chose several orgs across the nation with most responsibility and greatest opportunity to explore board diversity
  41. Top 2 barriers to #diversity on #arts boards – recruitment and board culture
  42. Are other sizes and types of orgs better equipped to diversify by ethnicity? #AUCapstone Anjali L
  43. Talk to your audience in their language. Couch discussion on board diversity in terms if fundraising potential, ways that matter to them.
  44. At least 20% participation to shift the board culture towards greater ethnic diversity. Doesn’t happen automatically, has to be nurtured.
  45. A lack of Contributed income is a large trend among education depts. in theaters. -Amy Russell
  46. Healthcare for Artists – an in depth analysis of what’s available (and what isn’t) by David Simmons. #AUartsmanagement
  47. Watching @violet_dc giving her capstone presentation via uplink to London. Leveraging Brands of Campus Museums
  48. #UMOJA Founder Raynel Frazier speaks at AU about her innovative jazz music series
  49. @EALSAU Executive Council member Raynel Frazier talks about her #UMOJA jazz music series. #Build artistic vision in jazz.
  50. #UMOJA based on 9 elements of business model building
  51. #UMOJA engaged in #crowdfunding on @kickstarter – campaign was unsuccessful, but a huge learning experience.
  52. @AUArtsDC Senior Professor Sherburne Laughlin is visibility excited about #AUCapstone presentations and arts mgt student success. 🙂
  53. #UMOJA will be focusing on making the personal ask. Growing and diversifying funds.
  54. #UMOJA jazz music series hosts a Zumba fundraiser… Awesome!
  55. #UMOJA is built on principles of Kwanzaa – Unity, self determination, faith and fosters community through education and jazz music
  56. Fabulous, growing music series – awesome music, musicians, and principles, woven into the fabric of the Hartford… fb.me/25OvcXUQf
  57. Congratulations to the emerging arts leaders who are graduating this May!!

Read next page

Did you find this story interesting? Be the first to
or comment.

Liked!

Terrifying Decisions and Unresolved Questions in the Performing Arts

From the past, to the future, and back to the present, the following transcript captures a summary of the American University Arts Management Fall Colloquium 2012 via Twitter #AUArtsMgt.

Keynote speaker Mario Garcia Durham – the CEO of the Association of Performing Arts Presenters in Washington, DC – joined us to discuss the challenges facing performing arts institutions.  Storify by .

Update 12.01.12Durham’s Winding Road to Arts Leadership

MarioDurham_FallColloquium2012

American University, DC: CAS Arts Management

AU Arts Management Fall Colloquium 2012 (#AUArtsMgt)

Artist vs. Institution

Earlier in July, ArtsJournal blogger Diane Ragsdale challenged elements of Michael Maso’s acceptance speech given at the Theatre Communications Group conference in Boston.  He replied to Ms. Ragsdale’s retorts with a blog post of his own, wanting to address the important issues she had raised and to clarify any previous misconception.  Here is a rough video of his speech if you wish to view it:

The heated discussion that ensued as a result of his speech caused our arts management internship class to contemplate the role of the arts organizations we are currently interning with and defend whether or not we felt they are truly helping or hindering the quality of life and work of performing artists.  Here is my reaction based on my experience with the Baltimore Symphony Orchestra at Strathmore:

There are several indications that members of the Baltimore Symphony Orchestra, both musicians and staff, have established a long-lasting, healthy relationship with one another and consider the organization home.  Working as the BSO at Strathmore development intern and interacting with BSO musicians has allowed me to experience the BSO’s passionate and dedicated leadership and organizational teamwork firsthand.

“It Takes a Village,” a Symphony article released in 2009, describes the Baltimore Symphony Orchestra’s collaborative turnaround efforts in the aftermath of the 9/11 attacks and national recession.  “In a remarkable collective effort, the entire Baltimore team – administration, music director, musicians, board, and members of the extended ‘family’ – worked together to turn the orchestra’s situation around.”  The strength of their working relationship and sense of community remains apparent today.

Perhaps the strongest advocate for the musicians and their work is the BSO’s illustrious conductor and music director, Marin Alsop.  Since her appointment in 2007, Maestra Alsop has led the BSO into a more forward-thinking and modern position within the field and society.   In 2008, she partnered with the Naxos record label and brought the BSO online through iTunes.  Maestra Alsop has also played a major role in the formation and success of:

The passionate teamwork and dedication displayed by the musicians, conductor, board, and staff, have ultimately made these endeavors a great success.

When the orchestra experienced a growing deficit due the most recent national recession, BSO musicians initiated a fundraising campaign and agreed to a reduced salary and benefits for several years in a row.  Paul Meecham, the CEO/President of the BSO, has been supportive, yet firm in terms of financial management, which he has referred to as, “tough love.”

Founded in 1916, the organization has navigated almost a century of change and growth, including the emergence of the field of orchestra management as a formal discipline.  Although the Baltimore Symphony Orchestra may be unique in the sense that they are one in a small group of professional, full-time (year-round) orchestras in the United States, it is clear that the success of the organization rides on the musicians’ and staff members’ love of their work and the organization as a whole.

Everyone has had to work hard and make personal and financial sacrifices to live and work in nonprofit arts, but at the end of the day, the emotional reward, feeling of accomplishment, and relationship with the music, artists, and community, make everything worthwhile.  Everyone at the BSO wants the orchestra continue to evolve and succeed.