The Emerging Arts Professional Network has heard from both emerging and senior management on labour trends in the arts. Nobody has spoken for the middle managers, who are ostensibly the next generation of arts organization leaders…if they can manage to climb an already crowded ladder.
Stats Can reports that for the first time ever, there are four generations employed in the current workplace. “These different generations have grown up experiencing significantly different events that have shaped their values and beliefs. As diverse generations cross paths on the job, we sometimes see a clash of attitudes, ethics, values and behaviours that can result in misunderstandings and potential conflict.” (Melanie Joy Douglas, Monster.ca )
It is interesting to note the disconnect between “Hear Today, Gone Tomorrow” (EAP, May 2007) and “Will Do Art for Food” (EAP April 2007). Ms. Walsh offers a suggestion to “stem the flow of those leaving the organization by phasing the retirement of senior workers or offering short-term contracts to retirees.” Ms. Hall indicates that “Many of my former classmates, myself included, struggle to maintain a sense of being an artist in the face of capital-driven frameworks and our own lack of gainful employment.”
Which is it? Are there not enough workers, or more than enough? I tend to think the latter.
Speaking as a “middle”, I experience the frustration with the cry, “where will the next generation of senior arts managers come from?’ I find this refers Generation Y, who are, as Ms. Hall indicates, “… angry. We are fed up. We are necessary, and we will no longer be told that ours is a life of sacrifice and despair.” Ms. Walsh says that “Employers fear that those who are “fully groomed” may be at greater risk of flight and that they will flog their skills to employers offering a bigger payday, security, health benefits, and with any luck a pension plan.” Of course they are leaving the arts! Who wouldn’t when you put it that way?
I attended the OAC Regenerations Conference a couple of years ago. I left with the distinct impression that the senior arts administrators I heard from will continue "into their senior years" because obviously there is absolutely no one currently qualified to take over their positions! “Nobody could do my job!” Will your company simply shut down when you are no longer there? How is that succession planning? How is that of benefit to the company you worked so hard to create, sustain and nurture? More importantly, how is that of benefit to the arts in Canada?
In her article, Ms, Walsh asks, “what skills does this remaining pool bring to the table?” I will assume she did not ask this remaining pool directly for she would have learned just what they bring to the table: the knowledge that what we do is a business. Marketing and development skills that go past Xeroxing posters. New media PR. The digital age. Identification, research, cultivation, solicitation, stewardship. Advanced awareness of charitable giving legislation and best practices. Complete awareness of deficits, cash flow issues and the fact that you have to work for your donations – gone are the days of corporations and foundations giving for the sake of giving. And I feel most importantly – a bridge between the Boomers and Generation Y, for we can see both sides.
So where is the next generation of arts managers coming from?
Simple. We are here. We are standing in front of you. We are moving laterally from company to company as your marketing managers, development directors and audience and outreach facilitators. And as we try to climb that ladder we are told we are too young, or not experienced enough – by the very people who were given higher positions of greater responsibility in their late twenties and early thirties – the age we are now, with the same experience as they had, if not more. I invite senior arts managers to remember how old they were when they became general managers, executive directors or artistic producers, and how much experience they had in those positions. You were given a chance. It seems only right that you offer that chance to the next generation of arts leaders. Otherwise, you will create the self fulfilling prophecy of no one to take your place, and we will leave for the bigger payday, security and more importantly, increased responsibilities and recognition, unless our existence is recognized. For if there is no future for us, why would we stay?
Comments
Well said.
This articulates everything I’ve been feeling! I have almost 12 years experience working in this industry and wonder how do I make the next step? Am I destined to be a ‘coordinator’ forever?
As a director of an “emerging” company - I have a question -
Do you see this as only one straight line ladder?
I am in desperate need of “general managers, executive directors or artistic producers” who know more than me (after self producing for 10 years, I’ve gain some skills / knowledge) - It may very well be the major factor in what is holding back an exciting and vital generational shift in the arts in Canada.
We have a shared outlook, a belief in inovation and desires to create change. What we don’t have (predictably) is the money. I can’t match any established arts organizations entry positions let alone middle positions. But I am looking for someone to actually partner with at the highest level of company management.
With Small Wooden Shoe, I feel the demands of administration and producing weighing too heavily on my ability to create art - the reason I started the company in the first place. As touring and co-productions enter the picture, this work only increases along the pressures to continue make work at a continued high level. Not dropping the ball becomes the goal, rather than hitting the ball out of the park (sorry for the mixing of metaphors)
This is not intended to be a AP hunt post, but I use my company to illustrate that the opportunities are there, but there is probably a pay hit and necessity of doing more than one job etc involved.
As an artist I have been taught that in order to make the work I want I have to make it myself. That force of vision, rigour and dedication are the best hopes for a life in art (and this different than a “career”)
DaDa Kamera did not start as what it ended as.
I wonder about the risk asked of artists and its relationship to managment.
The upper levels in all fields of the western world are attempting to hold on to their jobs and authority. Witness the increase in the retirement age. The Boomers want/need to keep working in the structures that they built, so of course they are not going to just leave their jobs for the betterment of the artform, or to support the next generations attempt to replace them. So we need to create new systems and our own structures.
Ok, this post has now wandered all over the place - and all to ask:
Do you consider making your own ladder, instead of climbing someone elses?
thanks,
Jacob Zimmer
Great response Jacob.
Personally I think that many of us are constructing our own ladders but looking at the workmanship of others for further insight and to gain from what has already been done.
I had a vision from the movie Jerry MaGuire of Cuba Gooding Jr. yelling “Show me the Money!!” It seems like a familiar cry heard throughout the art world especially in independent theatre.
I am very interested to see how a new model can be devised that can provide more balance & financial stability for small & midscale arts orgs in the future….
thoughtful post by Jacob! Quite insightful.
Ella I agree with you that some are constructing their own ladders…hopefully with mentorship and assistance from those with middle and upper experience.
So…thoughts on how to create a new model? Where does one begin?
I do sense ongoing frustartion with the lack of opportunities for those aspiring to senior managament. Remember that it is a Board Committee that often hires these positions, and they are boomers and sometimes do not have a real understanding of the scope of a GM’s position, even though they help write the job descriptions. My belief is that each of you middle managers are in competition with others in your range, with boomers who are shifting companies and with arts ‘consultants’ who sometimes wat to get back in the biz but in a smaller company.
The positioning of your career options is critical…you have to infiltrate into the Boards, be at the openings, take on the tough and risky jobs, and make sure people know it was you and your team that brought home the trophy. You need solid mentors and advocates who understand your career goals and can alert you early to possible postings or even possible new opportunities. Jump in with your ideas, listen well and never shy away from the chance to give your ideas, to support your colleagues and to quietly but persistently impress upon them your ability to perform at every level. Tout your arts administration education as well.
You also need to stick it out through some tough times. While you know you are capable of more, and feel that by moving on and over you will find that golden apple, I hope you stick with some company and make a difference…and make sure that it was through your efforts this company moved forward. Just having a position or experience in a company is not good enough…there must be demonstrated success in one or more areas that you can attribute to your efforts. Senior managers must be able to do so many jobs in a small company…prove you can handle them.
If you do have a weakness - maybe it is in the area of financial management - get some upgrading and let your managers and board know about it. If you need to impress upon them your ability to crunch the numbers, do it, because otherwise only the MBA candidates will impress that board. If your writing or publc speaking skills are lacking, find some means to improve, because you must be at the top of your form. Many of those in the boomer generation got where they were because there weren’t that many contenders…sorry folks, but the field is opening up and there are some pretty strong forces in your midst - your friends and colleagues that have the same education and number of service years. Break the mold!
Good luck to all, and given that I have been a ‘coordinator’ for most of my life, I am not convinced that it is a bad thing. It is how you feel about yourself, your accomplishments and your
abilities…stand proud!
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Dear Anonymous,
As an emerging arts professional I can only imagine the frustration of being caught in the ‘middle’. It seems like in this industry, wherever you stand, there are always challenges to overcome.
Perhaps we need to put the rookie-middle-senior mentality aside and start looking at the big picture. If we are to run sustainable, relevant and engaging arts organizations that are assessable and meaningful to our current generation (young and old), we need all three groups working in tandem and learning from one another.
Succession planning and mentorship are key to creating a smooth transition in this industry. It is our job as emerging and middle arts professionals to make it known, loud and clear, that this is what we want and need in order to grow and stay committed to the arts. This can’t be done anonymously.