CANJA Audio Culture’s Post

Rarely in recent decades has the festival circuit been as disrupted as in the past 12 months. A confluence of local and global issues — from war to inflation, political unrest to societal shifts — have created a perfect storm for many of these vital cultural platforms, leading to funding shortfalls, staff losses, major PR headaches and, in some cases, cancellation. Amid shifts in consumer and industry behaviour, broader existential questions are being asked about the role and potency of festivals. #Festivals #CulturalPlatforms #IndustryDisruption

💭How might being a creative risk-taker broaden your horizons? 🎉A great post here from Guildhall Ignite highlighting the inclusive nature and success of the Edinburgh Festival. 💫I help leaders take a creative look at how they might step onto their next stage with courage, confidence and conviction. 📢Contact me if you would like to learn more about my Leadership and Performance Coaching. youngcreativespaces.com #executivecoaching #leadership #phyicalintelligence

Check this in depth piece about Anywhere's history and future in InReview

Reflecting on Paul Hodgins' observations, the resurgence of music events post-pandemic underscores the enduring appeal of in-person experiences. This sentiment resonates deeply with me, especially as someone who appreciates digital content but finds solace in the authenticity of face-to-face interactions. My recent engagements with The Greater Pittsburgh Arts Council and Creative Generation reaffirm the widespread desire for in-person connections, confirming broader trends indicating a notable uptick in attendance compared to early pandemic metrics. However, amidst these positive trends, the classical music sector presents a complex narrative. While it shows signs of revival, there's an urgency to address longstanding issues of diversity and relevance. As an advocate for inclusivity, I recognize the importance of celebrating successes while holding the sector accountable for fostering greater representation and innovation. Conversely, the nonprofit theater and dance sectors confront a more challenging landscape, marked by closures and uncertainties. Recent surveys reveal a sobering reality, with top-tier regional theaters projecting a significant decline in productions compared to pre-pandemic levels. This decline prompts critical reflections on programming choices and audience engagement strategies. Furthermore, it begs the question: Is it time for a reassessment of the aims and structure of the regional theater ecosystem? In my view, the key to revitalizing the arts lies in fostering intergenerational collaboration and embracing fresh perspectives. However, entrenched systems and prolonged tenures in leadership positions pose formidable obstacles to innovation. To overcome these challenges, we must advocate for pathways that empower individuals at every stage of their careers, coupled with a commitment to change. As Michael Bobbit (Executive Director of the Mass Cultural Council) suggests, addressing these complex issues requires a collaborative effort involving diverse stakeholders. We must look beyond traditional boundaries and seek insights from disciplines such as economics, entrepreneurship, and futurism. By fostering inclusive dialogue and leveraging expertise from diverse fields, we can chart a path toward a more vibrant, resilient, and sustainable future for the arts. #Arts #Culture #Music #Theater #Dance #Innovation #Diversity #Inclusion #AudienceEngagement #CommunityEngagement #Leadership #Collaboration #Resilience #FutureOfWork #COVID19

An Invitation to Answer an Important Question: How can the Fringe add the greatest value to the UK creative sector? This is the critical question being posed at this year’s Edinburgh Fringe at a gathering at Fringe Central on 24th August 2024 10:00 – 14:00 BST. You can register for free here. This is a Devoted and Disgrunted Satellite event which is co-organised bt Improbable and the Edinburgh Festival Fringe Society. Both issued the following invitations: From Improbable’s Invitation from Ellie Claughton, Executive Director of Improbable: Each year, Improbable hosts an annual Devoted and Disgruntled (D&D) where we ask the question, “What are we doing to about theatre and the performing arts?” It is a moment for the theatre and performing arts sector to gather, to come together and talk, problem solve, be devoted …even a little bit disgruntled. Next year will be our 20th year of D&D so it feels like we are amid and approaching a pivotal point in time for the theatre and performing arts sector. Our sector is consistently facing funding cuts and increasing costs to overheads, production and staff. But with a new government in power, the stakes for our sector feel higher than ever. What will be the path forward? What changes need to happen and need to happen in the immediate future. The Edinburgh Fringe Festival is a vital part of our creative industry and continues to be a platform that amplifies the potency of collaboration when artists, venues, industry professionals and more come together to tell powerful stories. What is the story we would like to tell now? What is the story that needs to be told now? We wanted to bring D&D as a resource to you while you’re at the Ed Fringe, in the most creative place during the month of August. I have taken shows to the Edinburgh Fringe (and even run a venue – Paines Plough Roundabout) for nearly a decade so know firsthand what a brilliant resource, experience, creative platform it is. Something I reflected on greatly was how I was usually in the bubble of my own show, which is almost unavoidable given the myriad factors that sometimes work against you when you’re bringing a show to the Fringe. But also, I would have loved the opportunity to spend some time to gather with other like-minded individuals, to take a break from putting on, watching, thinking about a show and to have important conversations. I now have the opportunity to do that with D&D coming to the Fringe. How can the Fringe add the greatest value to the UK creative sector? What do we need to tell our new government, how do we hold them accountable? What does the Fringe need? You may have similar and other ideas, questions, discussions you’d like to raise. This is the space for you. The Fringe is an important part of my creative life and if you feel the same, come join us at this Open Space, let’s have a cup of tea, chat and get to work, together. 

https://lnkd.in/dxrtbv9W Important of individuality in inter reformer band of professor Ebenezer Obey olasupo Professor Ebenezer Obey Olasupo, a renowned Nigerian musician and bandleader, led the Inter Reformers Band. Individuality played a significant role in the band's success and dynamics. Here are some importance of individuality in the context of the Inter Reformers Band: 1. Unique Contributions: Each band member brought their unique skills, talents, and experiences, making the band's sound richer and more diverse. 2. Creative Freedom: Individuality allowed band members to express themselves creatively, contributing to the band's innovative and distinctive sound. 3. Personal Growth: As individuals, band members could grow and develop their skills, leading to personal and professional growth. 4. Collective Strength: The combination of individual talents and strengths created a powerful collective sound, making the Inter Reformers Band a force to be reckoned with in the music industry. 5. Authenticity: Individuality helped the band maintain its authenticity and originality, setting them apart from other bands. 6. Adaptability: With individuality, the band could adapt to changing musical landscapes and tastes, ensuring their continued relevance. 7. Leadership: Professor Ebenezer Obey Olasupo's individuality and leadership guided the band's vision and direction, inspiring the other members to excel. In the context of the Inter Reformers Band, individuality was essential for creating a unique sound, fostering creativity, and driving success. This epitomized spirit of team work that yield good results.

Since 2004 Square Holes has worked extensively in the arts and cultural sector. Our research has supported government and individual arts companies and festivals, including renowned film, theatre, and opera companies. Read case studies here ... https://lnkd.in/g6wxGUWZ Our research has helped prioritise cultural infrastructure, measure economic and cultural festival impact, and support government funding decisions. “We like to actually test what we think, test our hypotheses. That’s where Square Holes as an independent firm can do that. That can at times be scary, the results may not be what we suspect they could be, but at least we are dealing with reality.” Mat Kesting, Creative Director Adelaide Film Festival (Square Holes has partnered with AFF since 2008) “The Square Holes research was foundational in helping us to secure longevity of funding, removing the historical challenges we’ve faced over ambiguity on this front.” DANIELLE SEYMOUR, Director, _SOUTHSTART (Square Holes has partnered with _SOUTHSTART since 2018) “Every time we do a market research piece, we always ask some specific questions so that we start building that trend data. And then we always choose one or two other areas that we want to focus on and get more detail. One is consistent, which helps us track and report to our Board on our performance indicators. And then one to deep dive into something that’s going to be of future value for us,” “It’s very tangible, specific data, that helps us develop the stories that we want to tell in our marketing, and our social media, et cetera. Otherwise, you’re making decisions based on anecdotes, and that can be misleading.” Elaine Bensted, Chief Executive Zoos South Australia (Square Holes has partnered with Zoos SA since 2013) Other culture, lifestyle and sport clients we have worked with included Helpmann Academy, State Theatre, State Opera, Art Gallery South Australia, Adelaide Oval, and South Australian Cricket Association, including significant research supporting the development of Adelaide Oval and the Riverbank precinct, and research to support culture strategy and policy since 2004. Square Holes has also invested over $500,000 in arts sponsorships towards contra research and initiatives such as the Helpmann Square Holes acquisition art prize of $5,000 cash now in it's third year. Arts and culture is critical part of our identity. Flourishing cities, inspired by real people. We partner with human-curious leaders to optimise growth and inspire innovation through tailored on-going market research and cultural insight programs. Benchmark data, insight toolbox, and local and global sector expertise and network to guide Flourishing Cities since 2004. More ... https://lnkd.in/g6wxGUWZ

Live performing arts are facing an existential threat from a range of potential global shocks unless there is significant and sustained investment in resilience planning. Climate-related emergencies, political unrest, economic pressures, and public health crises all threaten the viability of drama, dance, opera and other live events, as well as their benefits to society and community wellbeing. This is the conclusion of an international study looking at the varied responses of the G7 nations to the COVID-19 pandemic, saying that major lessons must be learned to safeguard the future of the sector. https://bit.ly/43BzTVB

Governments of all stripes in Canada have systematically disinvested in arts and culture for over 30 years. This, despite the overwhelming cross-party support amongst voters for sustained investment in the arts. It's time to think differently. Governments are facing extraordinary challenges; in nearly all cases, the arts are part of the solutions they seek. Let's work together differently, and towards a new deal for arts and culture in Canada.

As Executive Director of Torito Arts NFP, I spend a lot of time speaking with fellow presenters, agents, managers and artists in the performing arts, something I love because it gives me a broad view of what is happening in our industry. I believe we need to talk to each other A LOT more about the challenges we are facing because I find that often we are not aware of just how challenged our industry is. Speaking with a presenter last week, I mentioned that we are still seeing venues closing their doors due to everything we lost in the pandemic and the slow return of audiences. She had no idea that this was the case. Today, I received an email from another presenter stating that they are cancelling the rest of their 2023/24 season and that they "are disappointed to make this announcement since we were looking forward to delivering an exceptional season for our valued patrons in our state-of-the-art theater. Unfortunately, the insufficient number of ticket sales has made it financially unfeasible to proceed with the events." I won't share the venue's name here in case this is not something they want widely broadcast, but this is one loss of many that should have us all very alarmed. This extreme precarity is a reality for venues and companies large and small, festivals, concert series, etc. Out industry is in a state of crisis, and we need to begin addressing it openly. We cannot continue to believe that what is happening in our industry is evidence of our personal shortcomings as professionals rather than proof that the arts industry framework in the US has always been shaky and unreliable and clearly unable to withstand the pressures of a variable economy let alone a cataclysmic event like the COVID pandemic. The way we have functioned and continue to function is entirely UNSUSTAINABLE, and we need to have honest conversations about what needs to change. As an industry - as a collective of professionals struggling though unending hard times - we need to stop forever looking inward and fighting to protect small bits of turf while our overarching structure crumbles around us. This is without a doubt an inflection point, and simply surviving into the next month or next year is not going to cut it anymore. - Justine Bayod Espoz