News from ArtsJournal.com
“In protest of their unemployment and its endangerment of the country’s vulnerable cultural resources [and in] reaction to the government’s broken promise to hire 50 workers among the thousands of unemployed cultural heritage professionals, the Association of Culture and Art Workers is taking desperate measures.”
One of them has even agreed to be identified publicly. All of them have given plenty of unsavory detail.
At the International Festival of Authors in Toronto, Andrew Wylie “call[ed] Amazon ‘the equivalent of ISIS,’ 50 Shades of Grey ‘one of the most embarrassing moments in Western culture,’ and self-publishing ‘the aesthetic equivalent of telling everyone who sings in the shower they deserve to be in La Scala’.”
“[Cage] literally represented for me everything cool and removed and sophisticated at a time when I was trying to wend my way into the art world.” The choreographer talks about the genesis of his dance-theater work Story/Time.
During his 15-year tenure, Michael E. Shapiro led a $160 million, three-building expansion, raised $20 million for acquisitions, established an art conservation center, launched partnerships with major European museums, and founded an award for African-American art and artists.
The U.S. Federal Communications Commission rule would “ensure that over-the-top Internet streaming services are given the same treatment as cable companies and satellite television companies. … Broadcasters would be barred from stopping online video providers from carrying their content and that online video providers would be empowered to negotiate fair licensing deals with content providers.”
He produced, directed, and acted; he co-authored, among other projects, Paris, Texas; and “played a key role in launching the careers of fellow Texans Wes Anderson and Owen Wilson.”
“[We] gathered data on the 2014-15 seasons that have been programmed by 21 major American orchestras … [and] created a database.” Here are some early stats on how much music by female composers and American composers are being performed and which composers (living and dead) the orchestras are playing most.
“We have this idea, partly because of the past, of choreographers just coming and dancers just doing as if they’re not thinking. We know that dance is as much a cognitive act as it is a physical act. That’s why I’ve been very interested in physical thinking. If it’s a cognitive act, how is it that you can inspire people to be more creative cognitively?”
“One of the biggest misconceptions people have about mindfulness is that you can train yourself to stay in this mindful state all of the time. … Even if you spent 20 years in a Tibetan monastery, you would not be able to stay in a mindful state. We are not, evolutionarily, designed to stay in this blissful, present-moment awareness state.”
That’s how Edward Limonov described himself. He was “at once a rebel and a totalitarian, a salacious writer of semifictionalized memoirs who, after years in the West” – as a drugged-out thug in New York and a celebrated author in France – “stood with the Serbs in the Bosnian war and then returned to Russia to become an ultranationalist political agitator.”
The 91-year-old director is furious that the Milan opera house packed off his gold-covered extravaganza, which opened La Scala’s 2006-07 season, to the opera in Astana, Kazakhstan. (Never mind that Zeffirelli is getting a share of the proceeds, or that La Scala can borrow it back for free whenever it wants.)
The Director of Marketing is responsible for identifying and activating comprehensive strategies based on the institutional goals established by the organization’s multi-year strategic plan.
He/she is responsible for meeting or exceeding earned revenue goals, institutional press and external relations in coordination with an out-of-house Public Relations/Press and Media agency, supervising customer and box office services, identifying and meeting the marketing needs of the education programs generated by the Kansas City Ballet School as well as its Community Education activities.
Working closely and proactively with other senior staff/department heads, the Director of Marketing participates as part of the senior management team reporting directly to the Executive Director. The Director of Marketing is responsible for Kansas City Ballet’s overall brand continuity, audience development through marketing, public relations and promotional activities and programs.
Duties and responsibilities include but are not limited to:
1. Plan and implement all ticket sales campaigns including season ticket sales, sales of Kansas City Ballet’s annual production of The Nutcracker (Note: in 2015, a completely new Nutcracker production will be introduced to the community), single ticket sales campaigns and all other productions. Design and direct ticket pricing strategies that will develop long term audience growth, packaging strategies and non-cash sponsorship strategies in coordination with the Development Department.
2. Design, implement and facilitate annual and long term marketing plans for Kansas City Ballet. Support and facilitate development and implementation of Kansas City Ballet School, Development Department and Community Outreach marketing plans as needed.
3. Plan and administer the Ballet’s annual marketing operations budget; support development of Long Range Strategic marketing budgets.
4. Track, report and act on sales trends and data including dynamic pricing policies.
5. Organize and implement audience cultivation relations including
a. Audience development activities
b. Special events
c. Audience satisfaction surveys
6. Supervise KCB’s RFP protocol process including soliciting RFP’s from desirable prospective vendors and media partners; oversee buying process. Develop and direct printed material campaigns for all KCB purposes, including but not limited to brochures, season announcements, postcards and other direct mail, newspaper advertisements, billboards, and electronic and social media.
7. Oversee communications activities through communications/public relations coordinator and PR consultant including external and internal communications and systems, public relations efforts and external vendors and consultants.
8. Administer marketing database which includes audience and prospect information, mailing list applications, etc. Kansas City Ballet employs the Tessitura software as a joint venture with the Lyric Opera, Kansas City Symphony and the Kauffman Center for the Performing Arts.
9. Oversee KCB’s electronic marketing efforts including supervision of web site design, maintenance and email marketing and keep abreast with all contemporary social media opportunities.
10. Supervise Associate Marketing Director, Marketing Manager, Box Office Manager, Publicist, Telemarketing Manager, Electronic Media Coordinator. Make staffing and hiring decisions within marketing department.
Experience: College degree required. Concentration in Marketing, Business Advertising or Communications preferred with at least five years as a marketing director or associate marketing director preferred. Strong leadership and consensus building skills; marketing management and strategic planning experience; a proven track record in developing and administering a successful marketing program.
Required Skills: The successful candidate will be a highly organized self-starter; someone able to work well with personnel at all levels in the organization as well as with donors, volunteers and other arts professionals. Proficiency with Microsoft Office and Windows 7 based computer applications is essential; familiarity with Tessitura audience and development software is a high value asset.
Special Skills: Background in not-for-profit performing arts or arts marketing is a definite plus; a sophisticated understanding of the challenges and realities of programming a multi-faceted season of dance ranging from the traditional full length narrative story ballets to mixed repertoire to the introduction of new work to audiences and a rational, cost effective clearly stated point of view on how to approach that challenge will give a candidate a significant competitive advantage.
Beginning in 2016-17, a one week season of performances will be added to the annual offerings in order to provide more opportunity for mixed repertory to be presented. The new second company of Kansas City Ballet, KCB II, will soon establish a busy schedule of performances around the community which, when required, will be enhanced by the addition of dancers from our Student Trainee group.
Kansas City Ballet has a deep commitment to programming in the community for schools and in community centers. Our Reach Out and Dance (ROAD) program, originally fashioned after the concepts designed by Jacques D’Amboise’s National Dance Institute, are currently being held for 4th graders in 13 schools throughout the region.
Financial Profile: Kansas City Ballet is in excellent financial health. With a $7 million operating budget, the company has no long term debt, has a cash reserve equaling 18% of its budget, has an endowment in excess of $8 million, and has completely paid for its new home at the Bolender Center.
COMPENSATION & APPLICATION PROCEDURE
Compensation will be competitive for this position. Other benefits include:
• Paid vacation
• Health and Disability insurance (employer pays 85% of premium)
• Dental program (Employee paid)
• 403(b) retirement program with employer match
• Flexible Spending Account
• Free dance classes for immediate family (some exclusions)
• Tickets to all Ballet performances as available
Interested qualified candidates are invited to submit resume, salary history, names and contact information for a minimum of three references and a brief, well composed cover letter describing interest, relevant qualifications and experience to Mary Allen, Assistant to the Executive Director, Kansas City Ballet, Todd Bolender Center for Dance & Creativity, 500 West Pershing Road, Kansas City, MO 64108 Attention: Marketing Director Search. Or, by e-mail (preferred method):
Kansas City Ballet is an Affirmative Action/Equal Opportunity Employer and committed to diversity and inclusion throughout our organization.
Engagement Research: Talk to Them
AJBlog: Engaging Matters Published 2014-10-28
Finding My Chowder — Part 2
AJBlog: Out There Published 2014-10-29
Farewell to Poet Galway Kinnell
AJBlog: CultureCrash Published 2014-10-29
Bad News: NY Times as Insert for Christie’s Advertising Section (plus: me at NYU)
AJBlog: CultureGrrl Published 2014-10-29
“‘This was a crime against humanity,’ says Princeton University architectural historian Beatriz Colomina—not known for understatement—about Piano’s treatment of Le Corbusier’s structure. ‘It’s such a mythical building and it is being destroyed by somebody who is a good architect.'”
And at Game 6, the Kansas City Symphony performed. “‘I think it’s a magnificent statement about what Kansas City is and the importance of both major league sports and major league performing arts,’ Frank Byrne, Symphony executive director, said on Monday.”
“What does this mean for authors? Should we give up on interactive fiction? No, I don’t think so, but I do think we need to be aware from the outset it that it may have to be limber enough to straddle several mediums and formats.”
“Her character worked for Underwood from the time he was a member of the House of Representatives from South Carolina through his recent career upturns.”
“That essay Langston [Hughes] wrote, ‘The Negro Artist and the Racial Mountain’ — I’m thinking of both sides of his argument in that. One is that obviously you’re always a black writer, but also you have to work with your gifts first and shut that out when you’re actually composing. What do you guys think? That’s how I approach it, but it might be naïve.”
“The decision puts pressure on its rival chain Picturehouse, which is embroiled in a dispute over pay at its Ritzy cinema in Brixton. Picturehouse, owned by multiplex group Cineworld, agreed to the demands for the living wage, but then said 20 redundancies would have to be made to accommodate the rise.”