Watch: Case Study: Introduction to the Cycle at Pregones (New York, New York)

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Del curso dictado por University of Maryland, College Park

The Cycle: Management of Successful Arts and Cultural Organizations

220 calificaciones

University of Maryland, College Park

The Cycle: Management of Successful Arts and Cultural Organizations

220 calificaciones

What makes a successful arts and cultural organization? Led by DeVos Institute Chairman Michael M. Kaiser and President Brett Egan, this course will introduce you to a management theory called the Cycle which supports thriving arts and cultural organizations. Learning from our work with managers from over 80 countries around the world, the DeVos Institute developed the Cycle as a simple, but powerful tool to assist managers in their effort to respond to an increasingly complex environment and propel their institutions to excellence. The Cycle explains how great art and strong marketing can create a family of supporters, who in turn help the organization produce the revenue required to support even more great art the next year. The Institute has seen the Cycle work in performing and presenting organizations, as well as museums, arts schools, and other nonprofit endeavors like service organizations, historical societies, public libraries, university programs, advocacy organizations, botanical gardens, and zoos. By taking this course, you will learn: • the importance of bold, exciting, and mission-driven programming in an organization; • how long-term artistic planning can help an organization produce this work; • how an organization can aggressively market that programming and the institution behind it to develop a family of supporters - including ticket buyers, board members, donors, trustees and volunteers; • how an organization can cultivate and steward this family to build a healthy base of earned and contributed income; and • how an organization can reinvest that income into increasingly ambitious programming year after year. All course material is available upon enrollment for self-paced learners. New scheduled sessions begin each month. For more information about the DeVos Institute's work, visit www.DeVosInstitute.umd.edu.

De la lección

Introduction to the Cycle

Welcome! This first week you will be introduced to the course structure and learn the key principles of the Cycle, a management theory which supports thriving arts and cultural organizations and which serves as the framework for the course. The Cycle proposes that: When bold art is marketed aggressively, an organization attracts a family of energized ticket-buyers and patrons. The income produced by this family is reinvested in more art that, when marketed well, builds a larger, even more diverse family. When this cycle repeats year after year, the organization incrementally and sustainably builds capacity, presence, and health. Following the introductory lectures, you will learn more about the Cycle by reading the executive summary, reviewing answers to frequently asked questions, and completing an introductory quiz. As a reminder, if you are taking this course as a student or enthusiast not affiliated with a specific organization, we recommend you select an organization of your choosing to reference as you make your way through the course!

Watch: Case Study: Introduction to the Cycle with Dance Place (Washington, DC)3:25

Watch: Case Study: Introduction to the Cycle: MACLA/Movimiento de Arte y Cultura Latino Americana (San Jose, California)5:03

Watch: Case Study: Introduction to the Cycle at Pregones (New York, New York)10:57

Watch: Case Study: Introduction to the Cycle with Mexican Center for Music and Sonic Arts (Morelia, Mexico)2:18

Watch: Case Study: Introduction to the Cycle with Anna Lindh Foundation (Alexandria, Egypt)7:30

Watch: Case Study: Introduction to the Cycle with the Estonian Philharmonic Chamber Choir (Tallinn, Estonia)2:41

Watch: Case Study: Introduction to the Cycle with AS220 (Providence, Rhode Island)4:50

Watch: Review of The Cycle and Preparing for Next Week2:16

Conoce a los instructores

Michael M. Kaiser
Founder and Chairman
DeVos Institute of Arts Management at the University of Maryland
Brett Egan
President
DeVos Institute of Arts Management at the University of Maryland

>> I am Rosalba Rolon, Artistic Director of Pregones and

Puerto Rican Traveling Theater.

>> And my name is Jorge Merced, Associate Artistic Director here at Pregones,

Puerto Rican Traveling Theater.

>> Our common mission is to create works, original musical theater and

plays rooted in our Latino experience and

to present artists that who's aesthetic and who's mission is in

harmony with our twin commitment with the arts and civic enrichment.

Pregones and the Puerto Rican Traveling Theater have consolidated this year,

our merger and we have entered a brand new era and

I believe that the cycle has been really important in

helping us shape the framework for our future in many ways.

>> And a cycle that says, your first step is to really create create art for

us spoke immediately as to the things that we can,

perhaps contribute to a process that allows us to understand the extent to

which our art can connect with communities.

And to provide that springboard of ideas and

resources that come right back into the organization, and to our art making.

And what we'd like to share with you was one of the instances is in which we

took one of our main stage productions and applied the entire structure of

the cycle from great art, studying with great art and how that beautiful

pathway allowed us to expand the reach of that production, of that art.

Incorporate new collaborators and partners from the community, from the business

sectors, from individual donors who became then part of our family and allowed us to

increase the revenue of the company, so that we can continue to create great art.

>> Now, we have two theaters.

One in the Bronx, our beautiful theater in the Bronx and-

>> Right here.

>> Right here and the theater ad in the Broadway district,

in Manhattan and those are two very different realities.

Very, very different.

How are we going to reach that broad base?

And beyond that, how is that going to help us increase our audience?

How do we get more people into our family?

And ultimately, how is that going to bring greater stability, so

that we can continue to make great art?

Part of the challenges that we faced during the merger process is how do

we take these two destination points that we have worked so hard for, the Bronx and

these 47 Street in the middle of Manhattan, in the center of Manhattan,

a theater that has been there for the past almost 50 years.

How do we interconnect both theaters and how do we rebrand our institutions,

as one theater institution with these two great stages?

And we had made a promise to New York City that it was going to be amazing and how

do we turn up the level on that promise, and how do we deliver on that promise?

We require first something very different.

So we thought of the idea of our audiences getting on this imaginary Bronx,

Manhattan theater express and knowing that they would find great art on both places.

So we went into that place that we know best,

which is our repertory and we thought how about if we

take one of the pieces that have been associated with

both our theaters for many, many, many years?

And that piece is a theater production called [FOREIGN] or

the Blackout about a major blackout in New York City and this man who is trapped

in the subway trying to get home, because his wife is about to give birth.

That's been a story that has spoken volumes for our audience.

We have created a very

fabulous way of telling this story with our band with a sample.

This piece has been in our repertoire now for over 25 years, has traveled the world.

How do we make it different?

How do we take these that this production, the Blackout and

make it special, super special and we went to the cycle.

We thought we have a great piece.

We have a great show that is going to connect with thousands of audiences.

We went on to create new conversations with national consulting agencies and

many of them were friends, and who have always been there.

But this time around, the conversation was different.

It was about how do we take this message to a much larger stage?

How do we use our megaphone in a way to engage not only [COUGH] our usual

audience or reengage them, but expand them aggressively?

How does that is going to affect our season?

How do we enhance the the value of our message

by being very consistent in our marketing strategies?

>> The cycle invites us to make decisions that are strategic

throughout the entire work process.

Problematically, we chose to cast a spoken word artist,

Flaco Navaja to connect with this invitation for

our audiences to travel across boroughs to see the production in the new venue.

So both the story and the institutional marketing were able to join,

and made the play a success.

In order to build family, we connected with both patrons and funders.

We decided to engage ambassadors for different nights of the production.

One of them was particularly memorable to us.

We connected with a very popular Bronx blogger who happened to

have an amazing collection of photographs of his father's

last day as a train conductor here in New York City.

As I was viewing his photographs, we started to talk about having an exhibit of

that amazing day with his father as part of the production and inviting him and

his father to welcome the audience for that particular night and

having a party for their friends and their guests.

That event was a highly successful event in which our audience was

able to celebrate their value and their importance in our theater.

This blogger is a taste maker in the Bronx and

his readership expands from the Bronx to many, many different circles and

he was able to help us communicate the message of the play and

the institutional merger of the two organizations.

>> With this production, we ran at full capacity and

exceeded box office projections by 60%.

>> The cycle enabled us to graduate our efforts to a different level and

to communicate these graduate these graduation consistently to our VIPs,

our funders and our donors.

For instance, our current airline sponsor doubled

the value of their sponsorship in recognition of

our deepened commitment with our community.

>> This season delivered the sharpest spike of

productivity in a decade for both theaters.

That first season of our merger was in many ways, a rehearsal for the future and

the cycle helped us be very consistent in the application and its development.

>> And as our audiences continue to embrace our two venues,

our two stages in the Bronx and Manhattan, the cycle enables us to continue to repeat

the success of that inaugural season at Pregones, Puerto Rican Traveling Theater.

>> What made me fall in love with the cycle,

as a structure was that it begins with great art.

[COUGH] We are an artist-led company, an artist-led institution and

it couldn't have spoken louder to us the fact that none of

what we do would makes sense if it's not really firmly based on great art and

that to me is what triggered an interest in

understanding what happens after we create great art.

What is the next step?

And of course, we as artists are so immersed in creativity and

creating that unless we know where this is going to land with the audience,

then we're in trouble.

And this cycle prevents those troubles by early on,

reminding us that as we are creating this work, we are creating it for

somebody and that we need to begin to plan that next step.

So that, that production, that work can go to that next level.

>> And having the cycle for a frame of reference for a lot of the things

that we do has been really very helpful and it's become like a language.

And what's really interesting in our company, because we have two venues.

One in Manhattan and one in the Bronx and we choose strategically which productions,

and which projects are going to be harvested at each of those spaces, and

we also are a Puerto Rican theater company.

That means that we have two languages, very often on stage.

So the cycle is almost like another language and a frame of reference, and

a point of view that allows us to plan way in advance, invite and

incorporate other potential collaborators that don't necessarily or

don't normally work in the daily bases with us.

But the cycle allows us to plan in advanced and

to bring a lot of those partners into contribute to building a family and

building the resources that can allow us them to continue to create, so

that awareness is something that we carry with us.

And we try to apply it as often as we can,

especially to major productions or major events in the theater.

As an advice to those who are beginning to use a cycle, I think it's a beautiful

learning process where you have to get to know your organization and

your circumstance really well and see which are the moments in which the cycle

language and methodology best applies to the work that you're doing.

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