At the Association of Performing Arts Presenters conference in New York a few weeks back, there were several formal sessions and lots of informal conversation about knowledge sharing between generations. With a good portion of founders and trail-blazers on the cusp of retirement (assuming, of course, that they can afford to retire anymore), and a wave of change flowing over the presenting world that demands fresh perspective and new skills, the transfer of knowledge in all directions is becoming increasingly essential. The looming economy is only adding emphasis to the conversation.

While I’ll admit my bias, my MBA students prepared and presented a fabulous session specifically exploring intergenerational knowledge transfer (we’ll be posting the slide deck soon). There was also an additional full morning of conversation about providing more responsive and consistent learning resources for all levels of professionals, from novice to mid-career to experienced.

One participant shared the insight given to her on the subject: that no significant decision should be made without at least three generations at the table.

A particularly powerful example of both generational knowledge transfer and cross-generational decision making came from the ”Hands on the Future” initiative created by past graduates of Arts Presenters’ Emerging Leadership Institute in partnership with the association.

For the initiative, the Performing Arts Center Eastside in Bellevue, Washington, invited 10 ELI graduates to travel to Bellevue, to review and respond to the designs and plans for their performing arts facility. They sat with the design architects, with members of the planning team, and with the organization’s professional leadership. They heard about emerging trends in arts audiences from consultant Alan Brown. Then they offered their frank and insistent opinions on what was right and what was wrong with the proposed design.

Says PACE’s Executive Director John Haynes:

Their suggestions were thoughtful and well-informed. Ten professionals from 10 different venues were able to agree on a short list of priorities. More than 100 years of cumulative professional experience in the operation of theatres was brought to bear on our design. They saw some things we’d missed and confirmed some problems we suspected. Because of their teamwork, PACE will be better. Norman Pfeiffer commented that, despite having built scores of performing arts facilities over the years, this was “my first experience in this type of charette process with knowledgeable professionals, and I enjoyed it immensely.”

The true indicators of the learning and the teaching that flowed both ways in this project are in the revised plans for the new facility. Instead of a large space being designated as an exclusive donor lounge, for example, the plans now include a flexible cabaret performance and function space open to all.

The ELI project offered an ideal example of what came up often during discussions on knowledge transfer — that it’s insufficient and ineffective to only pass along what you know. Rather, true learning requires that you to listen and learn in the process.

And, since I’ve come this far, I might as well quote from Oscar Hammerstein II via The King and I (just try and stop me):

“It’s a very ancient saying, But a true and honest thought, That if you become a teacher, By your pupils you’ll be taught”