Cross-Training Across Generations: Current Challenges in Arts Admini From: In Dance/DanceUSA
National Arts Marketing and Development Conference New York City From: artsjournal
Job opportunity: President & CEO Alberta, Canada From: The Banff Centre
World Press Freedom Prize 2011 From: UNESCO
Web site offers free video training workshops From: Aramram
Call for Submissions – Eco-Friendly Handmade Artist Greeting Cards From: Sharon
Call for partners: Participation.eu – Citizen´s media-literacy after From: CGE Erfurt e.V. Info
photojournalism in 5-day boot camp [Prague] From: art4development
Arts, media convergence fellowships offered to journalists From: Clore Leadership Programme
International Survey of Experimental Film, Video and New Media From: Nelson-Atkins Museum of Art

Cross-Training Across Generations: Current Challenges in Arts Admini

Posted by: "In Dance/DanceUSA" In Dance/DanceUSA   art4development

Tue Feb 15, 2011 8:36 am (PST)

Cross-Training Across Generations: Current Challenges in Arts Administration

By Maureen Walsh

This article was originally published in the December 2010 issue of In Dance, a monthly magazine published by Dancers' Group, serving the San Francisco Bay Area and beyond.

A new crop of bright, talented individuals are rising in the ranks of the art administration sector. Often dubbed "emerging leaders," this group is typically defined as under 35 years old, working in the field less than 5 to 10 years. I fall decidedly within this definition, yet I remain unsure what it really means to be an emerging leader, and where this designation might take me. I spoke with some of my peers, mentors, supervisors, and other stakeholders in the field to help me explore the nuances of this concept. What I found is through research and surveys, arts organizations have identified the apparent gap in age and experience between established arts leaders and their successors as a major issue affecting the potential growth and sustainability of the arts sector. T
hose I spoke with were eager to talk about the challenges of this issue€ ¦’·which there are far too many to squeeze onto this page€ ¦’·and the future of this pocket of the work force.

There are more questions than answers at this point, but most agree that a few salient issues will shape this transition: reevaluating the internal structures that non-profits use operationally; allowing technological innovation to streamline administrative tasks; and trusting that asking questions can lead to better answers and more support.

Assessing Structures and Models
Most organizations currently support a traditional model for upward movement, from entry-level, to mid-level, to management, to executive. But are these structures best for the field as we consider this fundamental shift in leadership? Emerging also means expansion outward, which is what many next-generation leaders are seeking. Jeanne Sakamoto, senior program officer at the James Irvine Foundation believes "it is important to look at professional development broadly, for example, not everyone in a mid- or entry-level position covets the CEO position." By eliminating hierarchical strategies of leadership succession, this next generation becomes able to grow their skills and define leadership in new ways.

Some of the new generation believe strongly that this hierarchical structure is outdated, dysfunctional, or unsustainable. Many non-profits don't operate like corporations, yet they assume similar staffing structures; the new logic is that arts administrators should take as much creativity in their administrative tasks, job descriptions, and career tracks as the artists they support.

Marc Vogl, program officer at the William and Flora Hewlett Foundation, opines that the next generation is "very comfortable working collaboratively. They don't profess to know all the answers and are willing to open up and say, `I would like to try to solve this problem or take leadership on this issue, with other people.'" Many young administrators desire a new kind of work model based on interest and sharing rather than position title. Instead of an organization identifying employees by their job descriptions only, perhaps they can share, explore, and manage many aspects of each other's tasks based on their unique skill set, experience, and interest. Each individual would hone multiple skills and have a more integrated knowledge of all operations.

In this interest-based structure, tasks can be assigned based on time allotment. For example, managing website development and maintenance might take 10 hours per week. Rather than assign this task to an already overworked full-time communications or IT employee, a manager could ask the staff at large for someone to add the project to their workload. Whoever wants to refine their web-based skills can offer to dedicate the 10 hours. Promotions would be a thing of the past because more emphasis would be placed on equal value for all aspects of the operation.

Personally, I feel fulfilled and challenged by my job at Dancers' Group through a working model of this interest-based, cross-training system. I may not get paid as much as my for-profit-sector peers, but I am nurtured and supported in a different way: through constant performance reviews, daily feedback and dialogue with co-workers, and unending opportunities to voice my opinions and interest. I am developing skills in and confidence with multiple facets of the workplace that will easily translate into other jobs, projects, or fields.

Trusting Technology
We all live the reality that advances in technology are rapid and important to the way we do business, especially in the Bay Area, home to such interconnective giants as Google, Apple, Yelp, Twitter, YouTube, Facebook, Digg, and more. This region of the country is known for innovation and creativity in utilizing technology to further business and streamline work operations.

Younger generations typically have a greater facility with new technologies, causing a rift between generations already struggling to see eye-to-eye. "In the last 20 years, technologies have moved so quickly that they are outpacing normal rates in generational learning," explains Kegan Marling, program director at Dancers' Group. "In the past, the process by which you learned skill sets was a slower process than skill sets were changing."

It is imperative that the non-profit sector stay open to the newest, freshest, strangest ideas that come along, and younger employees are usually the first to identify these new ways of approaching old tasks. Technology is one component in the leadership shift where the next generation can thrive. Multitasking capabilities, information sharing, and new advances in hardware can be directly applied to streamlining modes and models of the past.

Asking the Question
Many individual and entrepreneurial arts organizations that were started in the '60s, '70s, and '80s, by an influx of government support and funding, are still thriving today. But the individuals who had a vision, who built their organizations around their own cohorts, peers, and interests, are retiring. What happens when (or if!) these established leaders leave their passion projects€ ¦’·now professionally developed organizations, to a new generation€ ¦’·one that approaches art, work, and life very differently? The answer to this question will undoubtedly play out over time, and as it does we must talk to each other, share ideas, and continue to ask questions.

As Sakamoto observes, the key to addressing this founder's syndrome conundrum is professional support and mentorship: "There are always going to be emerging leaders. There are challenges that can be met through monetary support, but [it] also requires a cultural shift."

Just as younger generations have new ideas about using technology and professional integration in the workplace, the established leaders have so much to teach the next generations about leadership and management.

Cross-generational support and mentorship is essential. The up-and-comers must assert their desire and ideas for professional development. Julie Potter, dancer, writer, and company manager for Liss Fain Dance, describes cultivating these relationships on her own time: "I have been gathering sticks and berries, this toolbox of skills, for whenever I might need or want them, figuring out a personal board of directors€ ¦’·people to engage about certain areas. [It may] not be a formal mentorship, they might not even know that you are seeing them as a resource or inspiration."

Similarly, established professionals need to trust the fresh ideas and tools of the next generation. "People trusting me along the way to step up to the challenges was a big part of my leadership development," says Anne Dunning, chair of Dance/USA's Emerging Leaders in Dance Task Force. "What [people] need most to continue to progress and be challenged is fresh opportunities and perspectives. I was very fortunate to have people who gave me opportunities that expanded my professional horizons."

Support for the next generation is materializing, and it comes in many forms: funders like the Irvine Foundation, Hewlett Foundation, and the Center for Cultural Innovation are building new, small grant programs to aid individuals' and organizations' professional development; the Emerging Art Professionals/San Francisco Bay Area group, facilitates peer connections through mixers, panel discussions, and events€ ¦’·they also have a new fellowship program to help further "new competencies, skills and sensitivities that are adaptive, engaging and relevant"; groups like Dance/USA's Emerging Leader Task Force and Americans for the Arts' Emerging Leader Network continue the conversation through research, surveys and networking events.

It is a boon to the field that arts administration professionals, by nature, are creative. And it is my hope that we will use our creativity to evolve and cultivate a fresh approach to all parts of the field. The questions are clear, now it is up to all generations to work together and ensure the dialogue continues€ ¦’·to create sustainable and progressive art making, but also to maintain the integrity of the field, to serve our constituents better, and to strengthen civil support of the arts and the culture we know and love best.

Maureen Walsh is communications director at Dancers' Group, a Pilates instructor, writer, and dancer living in San Francisco. She loves art in all colors, shapes and sizes.

If you have a topic that you would like to see addressed, please contact journal@danceusa.org.


National Arts Marketing and Development Conference New York City

Posted by: "artsjournal" artsjournal   art4development

Tue Feb 15, 2011 8:36 am (PST)

March 18-21. Hear from experts on what is working now to find, retain, and upgrade audiences and donors. Many organizations take advantage of the 2-for-1 special offer – you can bring a colleague for FREE! Hurry, space is limited. read more: http://www.artsjournal.com/mt5test/advertising/2011/02/national-arts-marketing-and-development-conference.html#more


Job opportunity: President & CEO Alberta, Canada

Posted by: "The Banff Centre" The Banff Centre   art4development

Tue Feb 15, 2011 8:36 am (PST)

This is an exciting high-profile career opportunity in arts and culture/education for an experienced entrepreneurial executive with outstanding vision and leadership skills, and extensive experience in arts and culture, post-secondary education and fundraising. Founded in 1933, The Banff Centre (www.banffcentre.ca) is a public post-secondary institution in Alberta. Expressions of interest should be submitted to Janet Wright & Associates Inc. at banffpresident-CEO@jwasearch.com


World Press Freedom Prize 2011

Posted by: "UNESCO" UNESCO   art4development

Tue Feb 15, 2011 8:37 am (PST)

UNESCO is inviting member states regional organizations and international non-governmental organizations working in the field of journalism and freedom of expression to nominate candidates for the UNESCO/Guillermo Cano World Press Freedom Prize.

The award honors a person, organization or institution for making significant contributions to the protection and promotion of press freedom worldwide, especially in high-risk areas.

The winner will receive a prize of US$25,000 at a ceremony held during the World Press Freedom Day conference in May in Washington, DC. Last year the prize was awarded to Chilean journalist M€ ¦ónica Gonz€ ¦ález, director of Centro de Investigaci€ ¦ón e Informaci€ ¦ón Period€ ¦ísticos (CIPER).

For more information, click here:


Web site offers free video training workshops

Posted by: "Aramram" Aramram   art4development

Tue Feb 15, 2011 8:37 am (PST)

Aramram is looking for people from Arab countries who want to learn how to produce short videos to attend a free workshop.

The workshop will be held in April 2011 in Amman, Jordan, for journalists, professionals and NGOs or public campaign workers. There are eight spots available.

Participants will learn how to produce videos and integrate them into different kinds of media.

Aramram is an independent Arabic web television broadcasting online from Jordan's capital. Launched in 2008 by a group of Jordanian entrepreneurs with initial help from the US Agency for International Development (USAID) and IREX, the site is a platform for stories and entertainment clips.

The limited liability company "offers an alternative view of current events" webmaster Rabah Hams told IJNet, that is open to anyone with ideas, either producing features based on reader suggestions or providing technical support to people with ideas. The core team is made up of six people with a host of contributors, mostly individuals they have trained.

The workshop is free of charge and travel and hotel expenses will be covered as well. For more information, email: training@greyscalefilms.com


Call for Submissions – Eco-Friendly Handmade Artist Greeting Cards

Posted by: "Sharon" Sharon   akashara2u

Tue Feb 15, 2011 8:37 am (PST)

This Spring, the Tubman-Mahan Art Gallery of The Center for Green Urbanism, located at 3938 Benning Road, NE in Washington, DC, will begin selling unique, one-of-a-kind artist greeting cards printed on or made of recycled paper and from eco-friendly materials. Handmade original art cards or cards highlighting original photography (by the submitter) featuring nature, landscapes, etc. are welcomed. Each card must be a small work of original art.

We will consider cards on consignment OR wholesale orders. Card submissions will be juried. A limited number of artists will be selected.

If interested, please send the following to the address below:

-up to 3 card samples in clear, plastic sleeves
-a description of the paper and materials used for each card submitted
-a brief bio and contact information
-price list or range of card prices
-indication that a) you will consider consignment or b) wholesale orders (include prices and number of cards per order)

NOTE: Card samples will not be returned unless accompanied by a self-addressed, stamped or postage paid envelope.

Authentic Contemporary Art
c/o Center for Green Urbanism
3938 Benning Road, NE
Washington, DC 20019

Artists will be notified by or around April 15th whether their work will be selected. Once chosen, please remember that cards must be packaged and clean, and professional looking before delivery.

THIS SUBMISSION IS OPEN UNTIL March 30, 2011 so get creating and show off your work!


Call for partners: Participation.eu – Citizen´s media-literacy after

Posted by: "CGE Erfurt e.V. Info" CGE Erfurt e.V. Info

Tue Feb 15, 2011 8:37 am (PST)

[Attachment(s) from CGE Erfurt e.V. Info included below]


CULTURE GOES EUROPE (CGE) – Soziokulturelle Initiative Erfurt e.V.

Iderhoffstra€ ¦ße 12
99085 Erfurt

Dear colleagues and friends,

Active Citizenship and a European ci
vic society are core constituents to the Europe for Citizens -program. However, there seems to be a lack of knowledge about the various possibilities for creating and being part in the European civic society. Especially nowadays' media and the internet mean chances – and challenges – to participate that are mostly unknown to the public.

In perspective, this knowledge will become ever important as we are moving towards more and more digitalized societies. Following the 2010/11-project "EU=You! Citizen's engagement after the Treaty of Lisbon", CGE Erfurt e.V. will continue working on this topic with our new project:

Participation.eu – Citizen€ ¦´s media-literacy after the Treaty of Lisbon

We are looking for institutions, members of civil society and other initiatives, active in the field and interested to support the project from the following EU27 countries as:

Czech Republic
Benelux Countries

Aim of the project is to inform and discuss nowadays' various opportunities for citizens to play active roles in Europe, both politically and culturally. The several meetings (public events, conference) will be set during the latter half of 2011/spring 2012 and take place in various locations all over Europe.

The following events are planned:

Erfurt, Germany
Official Opening, Public Meeting
Digital Participation after the Treaty of Lisbon

28/11/2011 – 1/12/2011
Budapest, Hungary
Experts' Forum
"Netizens" in the EU – building the framework for digital participation

16/03/2012 – 20/03/2012
Erfurt, Germany
Public Conference
Citizens' media-literacy after the Treaty of Lisbon

13/04/1012 – 15/04/2012
Lisbon, Portugal
Web and Society – digital participation in Europe

04/05/2012 – 06/05/2012
Warsaw, Poland
Web and Society – digital participation in Europe

18/05/2012 – 20/05/2012
Riga, Latvia
Web and Society – digital participation in Europe

15/06/2012 – 18/06/2012
Bologna, Italy
Public Conference
Creating participation in the digital age

30/06/2012 – 01/07/2012
Erfurt, Germany
Official Closing, Public Meeting
EU-participation in the 21st century

If you are interested to join and support the project, please send us a short notice including your contact data and a general description of both your organization and your experience in this field of activity (please see attached file) to:


The team of CGE Erfurt e.V.
Soziokulturelle Initiative Erfurt e.V.

Iderhoffstra€ ¦ße 12
99085 Erfurt

skype: CGE – Erfurt e.V.
phone: +49 – 361 60 21 515 (B€ ¦üro / Office)
+49 – 361 60 26 857 (Vorstand / Board)
fax: +49 – 361 60 21 516
mail: cge-erfurt@gmx.de (Info)
head@cge-erfurt.org (Vorstand / Board)
office@cge-erfurt.org (B€ ¦üro / Office)
evs@cge-erfurt.org (EFD / EVS)

Attachment(s) from CGE Erfurt e.V. Info

2 of 2 File(s)


photojournalism in 5-day boot camp [Prague]

Posted by: "art4development" art4development@yahoo.com   art4development

Tue Feb 15, 2011 8:37 am (PST)

Students interested in photojournalism can attend a course in Prague.

The Photojournalism Course, offered by Transitions Online, aims to provide an introduction to taking, editing and selling photographs. It will focus on both classroom training sessions and practical shooting and editing sessions. Sample topics include lighting, post-production and multimedia presentations.

The course will be led by Dean Cox, a freelance photojournalist who has sold his work to the Associated Press, the New York Times, the International Herald Tribune, EurasiaNet and Bloomberg News.

Students are required to bring their own cameras, but organizers say "it doesn't matter if it's the cheapest camera on the market or a top-of-the range Canon or Nikon." The course will be conducted in English. The course fee includes accommodation, but not travel costs.

Apply by March 31, 2011 for an early-bird discount, € ¦’ 845 (US$1,125).

For more information, click here.


Arts, media convergence fellowships offered to journalists

Posted by: "Clore Leadership Programme" Clore Leadership Programme   art4development

Tue Feb 15, 2011 8:37 am (PST)

Journalists who work in the arts or media convergence can apply for a fellowship.

The Clore Leadership Programme aims to shape emerging creative leaders in the arts through in-depth of about 20 people a year.

The fellowship, which lasts seven months, includes a 3-month work placement, training courses, mentoring and coaching. Fellows will also attend a residential course in Kent, England from September 12 to 23, 2011.

Fellows must have at least five years experience and be able to demonstrate leadership and knowledge/experience in the cultural sector. Candidates from outside the UK can apply for the International Scholarships on the Clore Leadership Programme as well as for unfunded fellowships.

UK music and arts reporter Paul Cutts used the award to travel to the US in 2008-2009, where he spent five months editing a Native American newspaper for the Shoshone and Arapaho tribes in the Lower Rocky mountains of Wyoming.

There are a number of general and specialist fellowships available, of those, one is of particular interest to journalists and editors: "Sustainable Convergence of Media."

For more information, click here.


International Survey of Experimental Film, Video and New Media

Posted by: "Nelson-Atkins Museum of Art" Nelson-Atkins Museum of Art   art4development

Tue Feb 15, 2011 8:37 am (PST)

International Survey of Experimental Film, Video and New Media at The Nelson-Atkins Museum of Art

KANSAS CITY, MO.- The diverse group of performance video artworks presented in InsideOut collectively inscribes varying intensities of psychological and provocative effects within and on individual physical bodies as sites of sensual and material expression. Individual performers/subjects characterized by multiplicities of identities morph and transform their subjectivities and event-spaces through disruptive re-contextualizing effects. Hallucinatory layered and aggregate identities become sites of narrativity and modulating displacement that exceed their boundaries and turn our expectations upside down and inside out.

Several works presented appear to be kinds of metaperformance as a generative process that evokes unexpected and unrestrained modes of performance as opposed to habitual and conformist actions and reactions to diverse social circumstances and environmental contexts. These works are more like the Happenings of the mid-twentieth century where unconventional aspects of performance spilled out into public space and artists exploring the conflation of life and art staged performance events in non-art locations while also disrupting established art contexts.

All of these video works engage the shell/form of performance gesture while expanding the potential of performative experience that affects us in new ways. Artists are responding critically and creatively with a new political awareness to global media representation and expression of the subject/viewer becoming performer through interventions into the dimensions of mixed realities. They are actuators setting unexpected expressions and feelings in motion, overflowing traditional or conventional social circumstances such as family, occupations and social spaces while simultaneously opening new experiential domains of self-creation. These works create transformative aspects of affective experiences that empower the performer while undermining the working contexts and exceeding the constraints of established expectations for the performer/subject. Larger than life, the empowered performer/subject defies gravity becoming playful and childlike. The psychological boundaries of encounter and confrontation that so often preserve the observed performer as subject and object are becoming heated up or slowed down and forming new aggregate organisms with unlimited potential. These works often transgress the expected behaviors of anthropological and social subjects while celebrating the body's sexuality and creative potential for opening new experimental aesthetic experiences and modes for performance.