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Connecting emerging arts managers with skill-building and leadership development resources.
October 16, 2012Posted by on
Does anyone else think we’re a little crazy for broaching this topic?
Cause it’s tough–real tough. One, you have to define what diversity means. Two, you have to have an honest conversation about it in order to reach any conclusions, but do so without being insensitive. Three, you have to create a safe space to allow this conversation to happen. Four, you have to be willing to look at what you and your organization are (and are not) doing to cultivate diversity. And five, it’s a real hot button issue, especially in Pittsburgh.
Tall order, isn’t it? But with our lineup of panelists and facilitator, we know we’re gonna make this creative conversation successfully happen. And we hope that you’re going to be there to share in the experience with us!
So join us on Monday, October 22 from 7-9 pm at the Union Project (801 N. Negley Avenue) for drinks, light food, and stimulating conversation.
Facilitating the evening will be K. Chase Patterson, President and CEO of Corporate Diversity Associates LLC a consulting firm that specializes in corporate training and talent acquisition services.
He’ll be leading the audience and our panelists–Joseph Hall, Alyssa Herzog Melby, Alecia Shipman, and Bee Schindler (read the full bios here)–through the following questions and more:
- How do we define diversity as arts professionals?
- How can arts organizations cultivate diverse audiences?
- How do we break down traditional barriers and stereotypes found in the arts?
- How do the challenges of fostering diversity change based on the art form, the size, and the history of organizations?
- What role can arts education and audience engagement play in fostering diversity in the arts?
Intrigued yet? But maybe you’re worried about how the event will be handled and whether or not you’ll feel comfortable asking questions? Don’t worry. Here’s the agenda for the night–and there’s plenty of opportunities to let down your guard and help us ask and talk about these tough questions:
7:00-7:30 Drinks, light refreshments, networking*Everything always gets easier to talk about after a drink*7:30-8:15 Panel discussion8:15-8:30 Break for reflection (audience members will be invited to submit questions via note cards)8:30-9:00 Audience and panel conversation
So what are you waiting for? This whole event is FREE, but we do ask that you take one minute to register today. Because we need to know how many drinks to buy, and you surely wouldn’t want us running out, would you? Thought not.
In all seriousness, though, this is one conversation that you’re not going to want to miss! And to get us started, feel free to leave a comment on the blog or facebook about how you define and/or cultivate diversity.
August 29, 2012Posted by on
Last Tuesday at this time, I was frantically packing way too many clothes in my suitcase for a 2-night, 3-day work trip to Boston and nervously chewing my fingernails to little nubs, wondering how I would ever survive said 2-night, 3-day work trip away from my one-year old (I did survive and so did she!). I had little idea what would be in store for me at the LEAD (Leadership Exchange in Arts and Disability) conference in Boston besides the fact that LEAD is a network based at the Kennedy Center for Performing Arts in Washington, D.C. But you know it was worthwhile stuff when you’re still mulling it over, citing lessons you learned in conversations, and wondering how you can do justice to this work that so desperately needs to be done: ensuring access to the arts both at your organization and in the greater Pittsburgh community.
So what are these lessons? Here’s a few biggies:
1. Great accessibility is great for everyone. When I told some people that I was going to begin offering large-print and Braille programs for PBT performances, I would often get the response, “Why would a person who is blind want to see the ballet?” It frankly doesn’t matter to me why someone who is blind wants to see the ballet. My concern is that if the desire is there, how can I ensure that what we offer–ballet–is accessible to them, whatever their individual needs might be. Sure, a Braille program is a very specific accessibility service, but what about patrons whose vision is degrading? I’ve often heard the stat that the average age of entry into regular ticket buying for ballet is in the mid-40s. Put two and two together, and it is quite possible that many of our patrons could benefit from large print programs. I experienced this firsthand at the conference when I was simultaneously listening to the keynote speaker and reading the real-time captioning on the CART system. I understood more of what was being said, even though most often the CART technology is used as a service for people who are deaf or hard of hearing.And there are so many more features in our daily lives that were created for people with disabilities that make everyone’s lives easier. Automatic doors, anyone??
2. Train your staff, train your staff, train your staff. A common thread that ran through many of the sessions was that it doesn’t matter how good your access services are. If the first encounter a person with disabilities has is with an uninformed, disrespectful representative of your organization, how do you think they’re going to rate their experience at your production or museum? Probably not well because (in a variation of lesson #1 above) great customer service for people with disabilities is great customer service for everyone. So I have this big accessibility initiative at PBT that I’m spearheading. Guess what it’s missing? Say it with me: “train your staff, train your staff, train your staff.”
3. Know your responsibilities and legal obligations for providing access services. The United States can be commended for having various laws in place to protect people with disabilities from discrimination, including Section 504 of the Rehabilitation Act (1973) and the Americans for Disabilities Act, or the ADA (1992, amended 2010). That being said, these laws are also complex and dense and, depending upon how your organization or business is operated, can vary about what you are legally obligated to provide. For non-profits, Title III of the ADA is your best friend. In a nutshell, it says that your must provide “reasonable accommodations” unless providing these accommodations would provide an “undue burden” to the organization. Well, if that isn’t vague, I don’t know what is. But sometimes vagueness has a way of getting us to talk about what it means. In the case of figuring out what your legal obligations and responsibilities are–that discussion is the first place to start. This is also a huge part of my accessibility initiative that I realize is missing. Because PBT performs in a space which it does not own, a discussion needs to occur with the owners about who is responsible for providing which access services. Not only will it be important for everyone to know their own legal obligations, but we now have the added task of communicating those legal obligations to another entity and working closely together to ensure that the services are provided in the most effective way possible.
4. Last but not least, Betty Siegel, the Executive Director at LEAD, said in her opening remarks that like any other asset to a business, accessibility is an asset your organization. She charged all of the participants to remember this as they returned to their work. Duly noted, Betty. I will do my best to advocate for accessibility at every level, and I start by passing on that charge to all of you! Say it with me: Accessibility is an asset! Accessibility is an asset!
Many thanks to the Greater Pittsburgh Arts Council and the FISA Foundation for sponsoring my attendance at the LEAD Conference.
June 20, 2012Posted by on
So this event isn’t sponsored by PEAL, but we think it’s going to be great. And are you ready for this? You have the opportunity to network with people *gasp* outside of the arts. Think of the possibilities! We hope to see you there, too!
By popular demand, our region’s dynamic young professionals, summer interns and employers will connect at the second annual New Pittsburgh Collaborative (NPC) HUB event. Join us on July 18th for this event co-presented by Vibrant Pittsburgh, The Regional Internship Center, ALPFA, and Chinese Association for Science and Technology – Pittsburgh (CAST-P) at the AlphaLab Accelerator space in South Side. This 2nd Annual Connecting PGH networking event features a keynote address by Terri Glueck, Director of Communications & Community Development at Innovation Works, an organization committed to growing diversity in our region’s workforce.
Date: Wednesday, July 18th
Time: 6PM to 8PM
Where: AlphaLab Technology Accelerator, 2325 E. Carson Street, Pgh, PA
Space is limited. Please register early at http://bit.ly/ConnectingPGH12
For more information, please call Vibrant Pittsburgh at 412-281-8600.
Thank you and we look forward to having you join us for this special event.
June 7, 2012Posted by on
Join your fellow arts leaders for drinks and conversation at Round Corner Cantina on Monday, June 11 from 5:30-7:30 pm! Talk summer goals and projects, end of fiscal year wrap-up, or make a new friend.
Or, if you’re interested in joining the Pittsburgh Emerging Arts Leaders Steering Committee (deadline June 15th–visit our post about it for more info), this is a great opportunity grab a drink and talk to current members about their experiences with the group.
Round Corner Cantina: 3720 Butler St., Pittsburgh, PA 15201
April 6, 2012Posted by on
Arts education is my passion. So forgive me for what follows, but you know what? If you’re in the arts, it should be your passion, too.
Whether you are an arts maker, arts decision maker, arts advocate, arts consumer, or an arts educator, what happens in arts education–and by this, I mean the whole gamut, from itty bitty babes to the young-at-heart sect–determines the vibrancy of the community we work and live within and the realistic scope of what we in the arts world can successfully accomplish.
“Blah blah blah,” you say. “Your previous sentence is loaded and vague and like everything else I’ve ever read about arts education. I’ve heard this all before. Why care now?”
I don’t think it’s a coincidence that within the last month, an enormous amount of literature has been released involving arts education because there’s a lot of value in arts education that many are only now beginning to recognize. But here are two facts from recent reports to that have been sticking in my mind, and although they speak specifically to K-12 education I feel they are reflective of arts education as whole:
1. If, as EPLC and the Arts and Education Initiative’s report, Creating Pennsylvania’s Future Through the Arts in Education puts forward, over 80% of Americans believe the arts are an integral part to a well-rounded education and the arts are seen as a vital component for addressing 21st century workforce skills by key business leaders, why are fewer than 50% of children studying the arts? (I should note that these stats are being re-reported from other literature. To actually read their recs for what we should do in PA, go here).
2. From the gist of the just released Arts Education in Public Elementary and Secondary Schools 1999-2000 and 2009-2010 from the National Center for Educational Statistics at the U.S. Department of Education (how’s that for having some clout behind it?), it appears that fewer students across the board are studying an art area (but this is substantial when you take into account that visual arts and music are still more widely offered, while dance and theatre is offered in less than 4% of elementary schools, for instance), and that the decline is even larger for lower-income students.
Why should you care? Wait wait, before you answer, let me ask you this: did you take art in school? Did it shape you on your path to where you are today? My answer, at least, is a resounding, “yes!”
So I’ll ask again: why should you care? Oh, before you answer again, think about this: How did you learn to be creative?
Why should you care? Does artistic genius only come to those who can afford to pay for after-school training?
Why should you care? Do you want an appreciative consumer of your art in 20 years, or were you planning on retiring before then? Oh, you haven’t started an IRA yet? Well, I guess you’ll still be working right along with me!
Why should you care? Is the rest of the world investing in arts education? (the answer: yes).
Why should you care? Are you in dance or theatre? Do you see the lack of representation we have in the schools? Breaks my heart.
Why should you care? Why should you care? Pick a reason, any reason. Add a reason below.
Because the reasons are all here. How we handle arts education today will affect how we create art (and hopefully, we have artists who have been taught techniques for how to create art), consume art, criticize art, market art, etc. with the next generation of emerging arts leaders. THAT is why you should care about the state of arts education.
[whew…stepping off soapbox and heading towards the kitchen for a beer, thinking about the inevitable follow-up blog post, “Now what to DO about the state of arts education…”]
Alyssa Herzog Melby is the Director of Education and Community Engagement at Pittsburgh Ballet Theatre. All opinions expressed herein are hers alone and not those of PBT.
March 23, 2012Posted by on
It never fails. After almost any public event that I attend with my spouse, he always says, “You’re so good at talking with strangers. I wish I could do that, but I can’t.” And every time I tell him a secret that I’m about to share with you all: I wasn’t born with a special talent to talk with strangers. I have worked—and worked extremely hard—at acquiring this skill, the “art of small talk.”
It’s hard for me to recall at what point in my life it became clear that the art of small talk was a skill I thought worthy of possessing. Perhaps it started as early as age 10 when I read a book (are you ready for a really shameful confession?) entitled How to be Popular with Boys that I found at a garage sale. This book—clearly from the non-women’s lib side of the 1970s—makes me now cringe. It did not help me to be as popular as the title proclaimed, but I do remember taking away a few key points that emphasized making eye contact and asking people questions about themselves. Or perhaps my investment in learning small talk occurred in college when I was a theatre major, and it was hammered into our brains that theatre is largely “who you know.” And the only way you get to know someone was by talking with them (and yes, this was before the rise of online messaging where people were still required to talk face to face.) Or perhaps it came from somewhere else entirely.
Wherever it stemmed from, it has been something that I have worked tirelessly on because I firmly believe that small talk is the beginning of networking. It doesn’t always work the greatest. I can recall plenty of times I have left a function going, “Why did I ask that? Why didn’t I ask them about this?” and replaying the scene over and over in my mind. But when it does work right, small talk leads to big ideas.
So while I am not the expert, I would like to humbly offer up what I have learned about the art of small talk and how you, too, can practice it.
- Know your audience: If you have the time, do a little research on the function you are attending, who is hosting it, and the people who will likely be there. But even if you don’t, get to know your audience from the moment you enter the room. In this case, judge a book by its cover.
- Make a good first impression: as you are judging other books’ covers, so others are judging yours. Walk tall, look people in the eye, and a firm (but not death-grip) handshake exudes confidence, even when you feel as nervous as a clam (and oh, how many times I have faked confidence!).
- Ask questions and find points of connection: People like to talk about themselves. 99% of the time, this is true. So ask questions and start simple. My favorites include: Where do you work? What do you do in your job? Are you from the area? How did you get into your current position? Have you been here before? Etc. etc. etc.
- Break down assumptions: Remember when I said “judge a book by its cover?” Once the ice has been broken through conversation, then try to actively break down the assumptions you have made and others have made of you because everyone is so much more than their surface appearance. For instance, because I work for a classical dance company and therefore dress more conservatively on a day to day basis, people may assume that I like to shop at the Banana Republic (hate both things—shopping and the Banana Republic) or that I am uptight and straight-laced. I like to try and bring up in conversation at some point that I have 2 tattoos and used to play the tuba. People never seem to expect either of those things.
- Read body language: perhaps I have an advantage here being a theatre major, but it’s really important to learn how to read people’s body language. I’m not talking as in-depth as Lie to Me tactics, but watch and observe. How does the person react when you are talking? Is the person nervously fidgeting and possibly more afraid of this situation than you are? Is the person actively engaged with listening to you, or are there eyes darting elsewhere? How does the person act when they are talking? Do they respond better to some questions than to others? What are they telling you about their comfort level in space (are they constantly shifting away from you if you inadvertently step closer to hear them better?) and with the content of the conversation? I am much more willing than others to talk about things other than work, but some people are very much focused at networking events on “talking shop.” So based on the feedback you are getting from their body language, re-adjust how you are interacting to help put the other person at ease and hope the conversation grows.
- And of course, to help facilitate this all even further, go to events that serve alcohol. Everyone has an easier time talking with a wine glass/pint of beer/cocktail in their hand!
What other advice can you give about how to begin and facilitate small talk at networking events?
Alyssa Herzog Melby is the Director of Education and Community Engagement at Pittsburgh Ballet Theatre among many other things, including mom, wife, friend, gardener, cook, artist, cloth-diaper enthusiast, sewer, drinker of homemade brews, reader of great books, and, as aforementioned, a proud former tuba player. All opinions expressed herein are hers alone and not those of PBT.