Fall 2021 Video Salon Series - November 12-19, 2021
We hope that you are staying safe during this (yet again) unprecedented time. For the fall, we are thinking differently about how we interact. In this spirit, we are announcing the NEW Video Salon Series for SAEE members. This peer-reviewed series of eight 25-minute videos will debut on our new community platform on November 12th and run through November 19th, 2021.
To debut the vidoes we are launching the SAEE Community — a platform for Arts Entrepreneurship educators to connect and share. The SAEE Community is free to join but to access exclusive content like the Salon Series, you’ll want to become a member.
While there are no synchronous components to the Salon Series, members can post comments to engage with other members and the materials being presented. Also, members have access to the full SAEE Community directory.
How to Participate in the Salon Series
Go to www.community.societyaee.org and look for the “Member Space” on the left side of the screen. Our community is also available on mobile, both web-based and dedicated app (iOS)
A new video will be released each day according to the schedule published below
Learn. Engage. Enjoy!
Schedule and Program
| DATE | PRESENTATION TITLE | DESCRIPTION | PRESENTER(S) |
|---|---|---|---|
| November 12 | For Good: How a Wicked Pandemic Has Forever Changed Arts Entrepreneurship | While the world remained relatively isolated during the global COVID-19 pandemic, artists sought intentional ways to continue to create and connect with each other. Online teaching, lecturing, and performing became normal, and has perhaps forever altered the way in which we as artists consider both the means and the extent of our respective reach. Our proposal seeks to investigate how artists and arts entrepreneurs from around the globe are utilizing these initially perceived setbacks of isolation and transforming them into powerful tools to connect and interact with more and diverse audiences. We will provide compelling interviews with the global visionaries who are leading this change and gain insight into what this means for 21st-century arts entrepreneurs. | Anastasia Pike, Teachers College, Columbia University Emily Ondracek-Peterson, Old Dominion University |
| November 13 | How to Reclaim Your Genius Level of Creativity | Jazz musicians regularly engage in jam sessions. It’s a process of getting together removed from commercial pressures to experiment with repertoire, play with new musicians, and learn from the elders. I studied the model with a series of interviews and surveys and it turns out that there are seven factors that facilitate a successful outcome. And even better, when applied to any group settings, these factors support group creativity and ideation. Factor 1 – gather the best and most knowledgeable personnel possible, Factor 2 – engage willingly in the improvisation process with the medial prefrontal cortex in high gear, Factor 3 – build in a mentorship process with open and supportive sharing of information, Factor 4 - do this in a completely democratic fashion providing everyone the same space and support, Factor 5 – find your role as sideman or leader and stick with it, Factor 6 – surround yourself with a supportive team and community and Factor 7 – shape the process with continuous evaluation and cues to keep moving in the best direction. The model has shaped the creative process of jam sessions successfully for over a century and can be observed in any creative teams, for example the early Pixar team implemented all these factors quite well. In the Entrepreneurship world this approach of shaping the unpredictable future rather than predicting the outcome was termed Effectuation and it turns out that most entrepreneurs follow this process. Saras Sarasvathy, a cognitive scientist, studied 27 expert entrepreneurs by analyzing 80 hours of interview tapes and 500 pages of data. She found five principles that all 27 experts had in common: Entrepreneurs start with what they know then imagine the possibilities. They move forward with calculated risks and react to surprises by finding new options, they build partnerships with like-minded teams and create a new future. Sounds familiar? It’s exactly the same process as engaging in the jam sessions, also observed in improv comedy and any group interaction that focuses on the process of creation rather than a specific product. But of course, the main ingredient for creative success is the willingness to practice the process of improvisation, to activate the medial prefrontal cortex and let divergent thinking flow. As George Land explained, our future looks bleak if we just accept the fact that 98% of us lost the capacity of imagining new possibilities and shape our path forward. We can change the bleak future by training our improvisation muscles on a regular basis, just like we work out to stay healthy and take a shower every day to stay clean. We can train our medial prefrontal cortex on a regular basis with a moment of idea journaling, talking a new path home, talking to a stranger, cooking a meal from the contents in our fridge, generating diverse ideas, engaging in jam sessions. A regular moment of silence for the dorsolateral prefrontal cortex is all it takes. And then jam with your team/ with your community and use the 7 factors find the best people, generate ideas, provide everyone the same space, learn from mentors and shape the future. | Monika Herzig, Indiana University |
| November 14 | Fifteen Questions: A Q&A that defines and determines the cultural enterprise | The "fifteen questions" framework explores the dynamic and interconnected nature of arts and cultural enterprise through a series of essential questions for the arts entrepreneur. Answers to each question widen, narrow, or determine the possible answers to other questions. The interplay of multiple answers often exposes conflicts and tensions across the enterprise. This framework – inspired by the Business Model Generation Canvas, but reimagined for the nonprofit arts – has been an evolving aspect of my Arts Management teaching for almost a decade. It has proven to be a productive (and fun) way to invite students and arts professionals into grounded discussion and discovery around “business models.” Ultimately, the process and practice of the “fifteen questions” framework show that business models are not abstract bits of conceptual architecture, but rather emergent and evolving solution sets to a cluster of interacting choices. | Andrew Taylor, Arts Management Program, American University |
| November 15 | Helping Musicians become Entrepreneurs | This study is an empirical investigation of the Equity in Program in Canada to understand the barriers women and diverse gender identities face in becoming producers and developing business skills to move their careers forward as artist entrepreneurs. We examine the respondent data (N=397) and identify five thematic clusters that could help the participants with artists' entrepreneurial capacity-building: professionalization, technical skills, self-development, networking, and business development. With the rich data obtained through our use of open-ended questions, we apply emotional coding to enable an in-depth understanding of some of the challenges faced by diverse women artist-entrepreneurs within Canada’s music ecosystem. Overall, our investigation provides evidence of women creatives in music's desire to become more professional in technical and business skills and concludes by outlining the future work required to ameliorate system-wide discrimination. | Charlie Wall-Andrews, Ted Rogers School of Management, Ryerson University |
| November 16 | From Gown to Town: Collaborating with Community Organizations to Develop Creative Entrepreneurship Education Programming | Bespoke art and creative entrepreneurship training for adult learners is in high demand by arts services providers, arts foundations, and economic and community development organizations. While pre-designed arts-inclusive entrepreneurship trainings are available from an array of sources, some organizations prefer to work one on one with professionals in the sector to provide custom made programming for their specific clientele. This session will review the opportunities and challenges present in crafting tailor-made programming for specific organizations who serve different geographic, cultural, and maker-mindset audiences. Topics to be covered include: relationships and power sharing with organizations and participants; understanding entrepreneurial and artist professional development language and outcomes; the role of applications and “who’s in the room”; the importance of understanding the programming’s role in entrepreneurial ecosystems already in place; support staff availability and shared responsibility; research gathering challenges; the role of speakers/experts in said programming; adult learning research and implications for curriculum design and delivery; and an introduction of some common art/creative entrepreneur “avatars” and their wants, needs, and entrepreneurial readiness. | Jennifer Reis, University of North Carolina at Greensboro |
| November 17 | When Nice Isn't Enough: Effective Strategies for Teaching Fundraising in the Arts | Does fundraising have to be scary or are we just afraid of money? How can we center community and advocate for equity while also ensuring financial sustainability and responsibility? This session explores methods and tools arts entrepreneurship courses can approach fundraising modules and lessons through the lens of positionality and empathy--having students reflect on their relationship with Wealth and decoupling fundraising from governance and programming to ensure the next generation of entrepreneurs center community and art in every aspect of their work when exploring fundraising. Participants will, themselves, be asked to reflect on their own positionality in fundraising. This session will break down common assumptions about fundraising and soliciting grants/gifts, empowering one to speak vulnerably about impact and value without being scared of "making the ask". | Jackson Cooper, University of North Carolina at Greensboro/ Pacific Northwest Ballet |
| November 18 | We've Got The Data You Need: Making the Case for Arts Entrepreneurship with Quantitative Analysis from the Strategic National Arts Alumni Project Survey | In an analysis of over 27,000 alumni of arts undergraduate programs from the Strategic National Arts Alumni Project (SNAAP) Survey who pursued careers in arts, learning entrepreneurial skills as part of their undergraduate program was associated with increased career and income satisfaction. However, respondents who found entrepreneurial skills to be important to their work named business and entrepreneurial skills as the areas in which they were least prepared. We'll discuss our analysis and how you can use it to advocate for the place of entrepreneurship and business education within arts programs. | Hannah Granneman, University of North Carolina at Greensboro Josef Hanson, University of Memphis Todd Stuart, Miami University |
| November 19 | Getting to the GRAMMY® and Beyond: An Insight to Student-Professor Collaborative Albums/Music Video Projects for Promoting Ecological Advocacy and Social Impact | This video discusses how one professor and 5 students embarked on a joint-venture partnership to create 5 multi-genre albums and one single (i.e., jazz, Ibero-American classical & folk, hip hop, global music, and children's music) that promoted themes such as social impact, cultural advocacy, and pandemic health awareness (Covid-19)! Viewers will uncover the applicable steps taken to: (1) create these album for professional artists as part of their course work. (2) partner with advocacy-based organizations to promote the album and the respective initiative (3) fosters scalability among each students' enterprise which have officially launched as a result of this experiential learning opportunity. (4) develop songs and compositions that translate the social message to a wide array of people groups. (5) become recognized by the Grammy® Awards for producing quality work adressing meaningful contemporary issues. | José Valentino, University of Florida / JV Music Enterprises Derris Lee, University of Florida Robert Acevedo, Jr., RAJ Studios JP Castillo, University of Florida Chris Shelton, University of Florida Savanna Downing, University of Florida |