I’m still working hard here on an idea formation rubric for students in the arts to consider. As I said in an earlier entry, the whole concept of invention and creation of new enterprises have been anathemas within collegiate arts curricula. Finding a bridge between these two worlds is of critical importance.
Here I present a four stage process that I believe, at the very least, provides a beginning rubric.
Type I
In this type the product remains the same, but the location and/or packaging of it is varied to appeal to a particular marketplace. Also within this type, the traditional format can be maintained, while transforming the product. Let me explain with two examples.
In the mid-1990’s the Ying String Quartet did an NEA-sponsored residency in Jessup, Iowa. Although they continued to play their traditional string quartet literature, they engaged the community in their work through education and boundless charm, and were a monumental hit. They could have remained in Jessup indefinitely, thus creating an enterprise of traditional format, but with the location and format varied. The Imani Winds, a woodwind quintet, performs mostly music written for and by them in traditional, education and non-traditional settings. They choose to break the mold of the standard woodwind quintet. They stand up when playing, often move throughout the performance space, play music from all genres, and interact with the audience informally (when appropriate). They have transformed the product, the woodwind quintet, an almost impossible feat, into an enterprise that is supporting itself.
Now in the case of the Ying Quartet, the NEA did their market research (of a type) for them. There was little or no professional classical music activity in Jessup, but there were enduring music traditions and activities in the schools and religious organizations. That there would be a hunger for their product and their presence was never in doubt.
The Imanis, however, created their own market niche. They had a hunch that with their particular blend of music, showmanship, openness and energy, they could “make it.” Their market “research” likely involved scanning the musical landscape and crafting a unique entry into it.
Type II
I spoke to this type in last week’s blog entry. Here a new enterprise is created to support some aspect of the art form in which the enterprise creator has deep experience. I cited the Philadelphia Photo Center and the oboe reed-making business. I believe students in the arts would enter the process of idea development most easily in this area. There are boundless examples within each of the art forms from which the process of enterprise formation can be dissected and studied.
Type III
This type marries the art making processes with social and/or environmental concerns. In my opinion, the true implementation of these types of arts enterprises has eluded our field, in that we have not entered into elemental conversations with those who are working in social services, education, the environment and community improvement. Our approach has been, “I’ve got a great idea that will be good for you.” With our big heads we have imposed any number of quality programs within communities that did not participate in their creation and formation.
My personal experience in this area first dates to the early 1970’s when large sums of money were made available through the US DOE Titles III, IV and VII. The programs my colleagues and I created and implemented were imaginative and enormously successful. The communities we served were apparently delighted with our work. When the Carter administration asked that applicants deeply involve their proposed communities in the program planning process, we were overwhelmed by what we heard: that our arts were not necessarily their art and that other social needs were overtaking their ability to prosper. We were clearly friends, as evidenced in the meetings, but we were “meeting” for the first time. Sadly, before we could truly work together to tackle issues together, the funding under the entitlement programs shifted to other priorities.
The lesson to socially-minded young entrepreneurs: engage your targeted communities in deep and enduring conversations about their needs. Hear them and then propose creative programs and ideas that address their concerns, but also apply those qualities the arts can uniquely bring to any situation. Create enterprises that involve members of the served communities.
Type IV
Here are the creation of entirely new ideas and enterprises. These can emerge from any of the other 3 types, but appear to be the result of an extraordinary individual’s imagination, drive and appetite for risk. There are numerous historical examples: Martha Graham, Frank Lloyd Wright, Stravinsky, etc. Look for stylistic shifts within the art forms, and then the individuals who had the fortitude to believe in them and move them forward. Graham is a particularly good example in that she created an enterprise, a company, to support her new artistic language. She was a true entrepreneur, combining her extraordinary imagination and artistry with the creation of an organization to support it.
Here in Philadelphia a young entrepreneur I know (from Eastman) has created a new enterprise to support an invention of his own. Rather than try to explain it, check it out here in these 3 videos: (http://www.youtube.com/watch?v=lpnEX5NxYYE), (http://www.youtube.com/watch?v=d2A67ePM3uc), (http://www.youtube.com/watch?v=lacidGYnrS8).
I’m not sure how one teaches Type IV. When I talk to those who have worked closely with emerging entrepreneurs, they too are somewhat mystified as to how to locate and nurture these amazing people. I believe there are some similarities to the identification of exceptional artistic talent. You know it when you encounter it, and the overarching goal of the teacher is to guide it and not ruin it.
I will be signing off from a weekly blog entry now until July. I very much appreciate your comments and ideas.
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