IN CONTEXT The Current State of International Cultural Engagement
ART IN CONTEXT The Current State of International Cultural Engagement
EDITOR Jennifer Schrock AUTHORS Kate Reed Petty Jennifer Schrock RESEARCHERS Anna Danielson Patricia Mullaney-Loss Jennifer Schrock Christopher Sciotto DESIGNER Deanna Luu
PHOTO ATTRIBUTIONS Page 3 Image © International Arts & Artists. Page 4 Image courtesy of Jonathan Hsu Photography. Page 6 Image courtesy of Jonathan Hsu Photography. Page 10 Image © Lukas G Photography. Page 12 Image courtesy of Elsa Thyss. Page 16 Image courtesy of Jonathan Hsu Photography. Page 20 Image © Michael Segal Photography. Page 22 Image courtesy of Marie Jacquot. Page 26 Image courtesy of the Los Angeles College of Music.
International Arts & Artists is a non-profit organization dedicated to increasing cross-cultural understanding and exposure to the arts internationally. 9 Hillyer Court, NW Washington, DC 20008 www.artsandartists.org Copyright © 2017 International Arts & Artists. All rights reserved. No part of this publication may be reproduced without permission from International Arts & Artists.
TABLE OF CONTENTS LETTER FROM THE PRESIDENT
ABOUT INTERNATIONAL ARTS & ARTISTS
ACKNOWLEDGEMENTS
EXECUTIVE SUMMARY
INTRODUCTION
HOW TO READ THIS REPORT
FINDINGS
LOOKING FORWARD
METHODOLOGY
LETTER FROM THE PRESIDENT
We know that art has the incredible power to make connections between people of different cultural backgrounds, especially in sensitive situations.
Whenever I find myself discouraged, the arts are where I find solace. I’m lucky to live in a city with a wealth of arts and cultural institutions that bring in exhibitions and ideas from all over the world. Looking at a ceramic bowl from Japan, a manuscript from Persia, or a film from Ireland, I feel a rekindled connection to humankind. I’m reminded that people have been bonding across cultural differences through creative expression since the beginning of recorded history. And most importantly, I’m resolved that those of us who work in the arts can do even more. We’re living in a divided era, both in the United States and abroad, with rising isolationism and fear. Personally, I know so many of us are simply exhausted of the hateful rhetoric. But in the face of many political, racial, religious, cultural, and other divides, American arts institutions are answering the call to build new bridges. We know that art has the incredible power to make connections between people of different cultural backgrounds, especially in sensitive situations. We also know that humans have a long history of misunderstanding and fearing people who seem different from us. That’s why IA&A has focused much of our work specifically on places that Americans have traditionally had a hard time understanding, like Cuba, Vietnam, and Iran. While international cultural exchange
is valuable in any context, it is vital in these sensitive relationships. I believe that artists move society forward. Concepts expressed through dance, music, literature, and visual media can unlock and inspire new ideas in engineering and science. In the same way, insights and challenges from one sector or even one organization can unlock and inspire new ideas in another. We also need cross-pollination with other disciplines, including diplomatic and academic experts. We need open channels of sharing and collaboration, so that we can seize new opportunities that these catalyze through unexpected connections. We need to extend these international art connections beyond major cities and cultural hubs and into more regions of our country. If we put our heads and hearts together, perhaps we can unlock and inspire new ideas and build lasting human connections that transcend boundaries as well.
David Furchgott President and Founder International Arts & Artists
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About International Arts & Artists International Arts & Artists (IA&A) is a non-profit organization dedicated to increasing crosscultural understanding and exposure to the arts internationally. IA&A fulfills its mission by providing fine arts exhibitions to museums across the United States and around the world, by offering internship, training, and research opportunities for international students and professionals, and by providing other programs and services to artists, arts institutions, and the public. Recognizing the need for greater sharing and collaboration between American arts institutions and their counterparts abroad, we developed the concept for the International Partnership Initiative in 2013. Our goal has been to spark new discussions and discovery among leaders in the arts, academic, diplomatic, and policy communities. Through research and programming, the Initiative seeks to facilitate cross-cultural understanding and build stronger ties through global partnerships in the arts. This report is the product of the Initiative’s first funded year of work. It draws on a series of public events as well as research conducted by the Initiative (see page 29). We hope this is the first of many meaningful conversations about new paths forward for understanding through international arts partnerships.
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AcknowledgementS IA&A is grateful to the supporters, experts, and colleagues who helped inform and shape this work. Within our organization, we are grateful to Anne Timpano, Director of Traveling Exhibition Service, and Allison Nance, Director of IA&A at Hillyer. The members of our working group, experts who advised on all International Partnership Initiative activities, were invaluable to this project: Constance Whiteside, Claire Huschle, Sergio Pinto, Devin Horne, and Shruthi Mukund. We are also grateful to the experts who provided assistance in
reviewing survey questions: Glen Gentele, Dr. Kym Rice, Dean Phelus, and Rebecca Fulcher. And finally, to the keynote speakers who led the events that informed this report: Dr. Dorothy Kosinski, Martin Wollesen, and Chase Maggiano. This report, as well as the research and programming that informed it, was made possible through funding provided by a foundation that prefers to remain anonymous. We are inspired by their commitment to diplomacy through the arts and deeply grateful for their generosity.
Audience members listen to an Art in Context panel discussion at IA&A at Hillyer.
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EXECUTIVE SUMMARY
Chase Maggiano, former Executive Director of the Gay Men’s Chorus of Washington, DC, discusses the group’s international work, including a trip to Cuba to raise awareness of issues faced by LGBTQ communities.
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Based on more than two decades of work supporting cross-cultural understanding, International Arts & Artists set out to better understand the challenges American arts institutions face in engaging in international work. Through a combination of quantitative survey responses from nearly 250 arts institution leaders, as well as discussions and events with experienced arts and policy professionals, we uncovered key lessons for furthering the field.
THE MULTIFACETED VALUE OF INTERNATIONAL CULTURAL ENGAGEMENT Arts institutions see international exchange as important for not only global goals, but also local and internal ones. Cultural exchange can diversify offerings and engage new audiences, encouraging attendance and knitting together a local community. However, research shows that the narrow geographic range (i.e., partnerships that are solely focused on Western Europe) and the short-term nature (i.e., most partnerships last less than five years) of most partnerships are limiting current potential. SCRAPPY STRATEGIES FOR COMMON BARRIERS Resource constraints are a natural barrier, and government funding is not always reliable or ideal for arts institutions’ goals. Still, research shows that many organizations are successfully implementing partnerships even with small budgets and few staff. Institutional and personal connections seem to be the key, as there are connections between an institutions’ affiliates (such as academic institution) or its role in the community and its ability to do international work.
PERSONAL RELATIONSHIPS AND NETWORKS CAN DRIVE AND SUSTAIN INSTITUTIONAL COLLABORATIONS. Individual relationships often drive institutional partnerships and cultural understanding often happens person-to-person. Focusing on individuals can open opportunities. Further research is necessary to explore three specific strategies, which can enhance the length and breadth of international cultural engagement and lead to stronger outcomes:
NEW FUNDING STREAMS CAN SUPPORT FURTHER, LONGER, AND MORE DIVERSE PARTNERSHIPS. Most institutions fund international work through general income. To access new resources, organizations can build bridges with new funders by communicating about the broader impact of international arts partnerships. CREATIVE, MULTIDISCIPLINARY COLLABORATIONS CAN UNLOCK MORE HOLISTIC RESOURCES. Networks of support from academic, community, foundation, and other local institutions can drive the success of a partnership far greater than funding alone.
In the coming years, these findings will drive IA&A’s work. We see a clear need for further conversations among American arts institutions to discuss international cultural engagement and build on these findings to drive longer, more robust partnerships between artists, institutions, and cultural leaders. Together, we hope to build greater understanding for generations to come.
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Before networking with other arts managers at a mentoring reception, an attendee takes in Flesh + Bone II, a juried exhibition held at IA&A at Hillyer.
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INTR0DUCTION Our world today is more connected than ever. Yet in so many places, mistrust is deepening along political, racial, religious, and cultural lines. Simple connections are not enough—we need greater understanding and empathy. This is where art is crucial. Arts and culture have a central role in developing understanding among people from diverse backgrounds. Through art, we increase our connections and find common ground. And many art museums in the United States are stepping up to help facilitate these connections through a new model, international cultural engagement.* This model goes beyond the traditional “cultural diplomacy” efforts, which governments have long used in geopolitical maneuvers. International cultural engagement is designed to create long-term partnerships that transcend the constraints of political, economic, or other pressures. It is a two-way exchange, involving a variety of participants, seeking to build understanding rather than exert influence. Of course it’s not easy! There are resource constraints, language barriers, and bureaucratic logistics. Most arts organizations are already stretching their budgets and staff resources as far as possible. How are international ambitions even possible? At IA&A, we have been watching international partnerships grow and develop for over two decades. We have seen artists and organizations gather to find common ground on current pressing issues: Like a satirical theater performance about getting a visa at the American embassy in Islamabad. Or a video project exploring Irish feminist history.
Or a joint performance by Cuba’s first gay men’s chorus and America’s oldest. We’ve seen the complex benefits these relationships can create, as well as the hurdles institutions face along the way. Overall, we see that many arts institutions want to engage with their counterparts abroad, but lack effective channels for discussion and discovery of best practices. This report is the first step in addressing this gap. It shares the results of research conducted to better understand international cultural engagement at the national level. Through a survey of nearly 250 leaders of American arts institutions, as well as a series of in-depth conversations with leaders from the arts, policy, academic, and diplomacy world, this report explores how arts institutions are fostering cross-cultural understanding through their work. We hope it will inspire more arts institutions and cultural organizations to build new bridges across old divides and help lead us all to a common ground.
MOST ARTS ORGANIZATIONS ARE ALREADY STRETCHING THEIR BUDGETS AND STAFF RESOURCES AS FAR AS POSSIBLE. HOW ARE INTERNATIONAL AMBITIONS EVEN POSSIBLE?
* The model was detailed by Aimee R. Fullman, “Backyard Diplomacy: Prospects for International Cultural Engagement by Local Arts Agencies,” Americans for the Arts (2001): 3.
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How to Read this Report
International cultural engagement is widespread: The majority of respondents (60%) were either currently engaged in international partnerships or had done so in the past. We will call these two groups Globals (those currently engaged) and Alumni (those formerly engaged). Of the remaining, over half reported institutional interest in some kind of international partnership within the next five years. And many of these included subjective remarks in their responses, indicating aspirations like “hope to, but not yet,” and “it is an area we’d like to cultivate.” We will call these respondents Hopefuls. Their responses indicate that international cultural engagement is not only widespread, but may be growing.
STAGES OF ART MUSEUM ENGAGEMENT
HOPEFUL
GLOBAL
ALUMNI
Have never engaged in international work, but may hope to in the near future.
Engaged in international work through at least one current program or project.
Have previously conducted at least one international program or project.
To support each of these groups in creating new partnerships or extending existing ones, there is an overall need for greater funding, especially strategic funding tailored to the stage of each museum’s international engagement. And there is a need for more arts institutions to develop new strategies to overcome common challenges—many of which they can learn from each other. We have organized our research findings to draw out these key peer-to-peer lessons.
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PART 1 THE MULTIFACETED VALUE OF INTERNATIONAL CULTURAL ENGAGEMENT
Exploring how art institutions understand the benefits of international work and key gaps inhibiting these benefits.
PART 2 SCRAPPY STRATEGIES FOR COMMON BARRIERS
TAKEAWAYS BEST PRACTICES TO GROW ON
Exploring the natural challenges of resources and staff time, as well as the strategies leading even small-budget organizations to success.
The beginning of an ongoing conversation about best practices for both institutions and funders to propel greater global understanding for the sustainable future.
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Jessica Dandine, a ballet trainee from France, practices a pas de deux with her partner at Ballet Palm Beach.
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FINDINGS
WINNING THE ATTENTION OF A GLOBAL GENERATION With many arts institutions eager for visitors and members from younger generations, international partnerships are often a valuable engagement tool. Experts agree that millennials especially see themselves as “global citizens” more than previous generations. During the Art in Context event on Ireland, for example, panelists discussed how many Irish young people feel a strong connection to European identity as much as their Irishness. Young people envision a future of greater global understanding; those institutions that build international bridges today will be positioned to thrive in the future.
Those institutions that build international bridges
today will be positioned to thrive in the future. Elsa Thyss, a conservation intern from France, works on a special project with the Art Institute of Chicago.
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PART 1 THE MULTIFACETED VALUE OF INTERNATIONAL CULTURAL ENGAGEMENT
Art museums know their international work can contribute to a stronger global community. Yet that’s not the only reason they engage internationally. Research shows that partnerships yield local and national benefits that are just as important as the international ones. It suggests that international work also supports museums’ audience development goals.
often have higher-level support in this work; only 6% of Hopefuls and 4% of Globals said that a lack of support from their Board of Directors was a barrier, indicating that high-level support is generally available for institutions that want to pursue international work.
International work is also seen as a way to better engage local audiences. Out of all survey respondents, 55% report that partnerships can help “gain visibility” for an institution, and 79% see it as a way to “diversify offerings to current audience.” Many survey respondents also indicated multiple options, indicating that international relationships are seen as having more than a single benefit. Furthermore, institutions
These findings show that arts organizations have multiple incentives for leaning in to international partnerships, as the practice has benefits for both local audience development and long-term global good. However, two large trends in the scope of most partnerships suggest that arts institutions may not be taking full advantage of the potential benefits of their international work.
Experts confirmed these local and community benefits through discussion. Martin Wollesen, Executive Director of The Clarice Smith PerformTHINKING LOCALLY, WORKING GLOBALLY ing Arts Center, explained how international programming serves multiple audiences of his Survey results indicated institution, which is part two primary reasons of the University of why organizations seek Maryland. “UMD is a RESEARCH SHOWS THAT to engage internationalmajor public research PARTNERSHIPS YIELD LOCAL ly. The most commonly university, engaged in reported reason is the international arena, AND NATIONAL BENEFITS THAT “increasing cross-culturand we want to make ARE JUST AS IMPORTANT AS al or international sure our program THE INTERNATIONAL ONES. understanding,” a goal reflects that—not only which is often part of for students, but also an organization’s DNA. alumni.” Wollesen This is especially true for Globals, of which 80% added that he sees a global commitment as have language about international or multiculgoing “hand-in-hand” with a commitment to tural understanding in their mission statements. local and regional arts.
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LIMITED SCOPE, LIMITED BENEFITS The first trend is in the length of partnerships. Relationships take time to develop, and yield richer benefits the more they deepen. This is especially true when establishing relationships across cultural divides. Yet the majority of arts institutions we studied have only maintained partnerships for less than five years. For about two-thirds of respondents, their institution’s longest international project lasted less than five years; this includes about 30% of respondents whose longest project was less than one year. Just 15% had maintained their longest partnerships for between 6 and 20 years. There is a parallel trend in the geographic scope of most partnerships. The most common international partnerships are happening between American institutions and their counterparts in Western Europe or North America. A total of 71% of Globals and Alumni had established partnerships in Western Europe, and 28% and 29% had partnered with East Asian and North American institutions, respectively. Only 9% had partnered with institutions in the Middle East and North Africa, and only 6% with SubSaharan Africa. This means that many countries from which Americans are the most disconnected are the most underrepresented in arts institutions’ partnerships. Many of these underrepresented regions are rich with culture and artistic talent and have a desire to share and build relationships with the world. One example: During a panel discussion about Pakistani art, Wajahat Ali, Creative Director at Affinis Labs and former correspondent for Al Jazeera America, said that many people in Pakistan are aware that the rest of the world carries a negative image of them, and “are eager to engage in a discussion to tell you that they do not ascribe to the image that is painted about them.” More research is needed to understand why few partnerships last beyond five years. And, while it is fairly clear that many countries under14 | International Arts & Artists
29%
north America
(Canada + Mexico)
13%
SOUTH AMERICA
represented in American arts institutions themselves have less funding available for the arts, there is more research needed to identify new sources to support these partnerships and best understand their role. However, in the immediate term, arts institutions can begin to work against these trends. One strategy is to focus on interpersonal relationships to complement institutional commitments.
Greater Regional Diversity Needed This map shows respondents’ international partners by region, indicating a disproportionate concentration in Western Europe. Respondents were able to select multiple regions.
71%
16%
Eastern Europe (including Russia)
28%
Western Europe
East Asia
9%
15%
Middle East and North Africa
Central and South Asia
6%
Sub-Saharan Africa
11%
Australia and Oceania
* MAP IS FOR ILLUSTRATIVE PURPOSES.
Many countries from which Americans
are the most disconnected are the most
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Participants share strategies for engaging in international projects and partnerships at a networking event hosted by IA&A.
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PERSONAL RELATIONSHIPS DRIVE GLOBAL PARTNERSHIPS
engagement, as we will discuss in the following section.
Looking beyond institutional commitments, personal relationships and individual efforts are often the anchors for successful global work. Individual relationships are already driving international cultural engagement, as 88% of Globals and Alumni had partnered with a curator, lender, artist, scholar, conservator, and/ or educator in the past.
There may be reasons for optimism beyond the scope of the current research. Many of the Globals’ engagements are in-progress, and new connections become possible every day. Perhaps tomorrow’s generation of 10- and 20-year partnerships has already begun!
Experts at one discussion event noted that institutional commitments often grow out of personal connections. Leaders carry existing relationships with them as their careers grow and can reach out to international colleagues for new opportunities. Individual curators also have a large role in driving programming, and their personal networks can provide creative sources for artistic partnerships as well as funding. Additionally, survey respondents indicated a “lack of sufficient international networks” as the third-largest barrier to international partnerships. As American arts institutions’ staff individually develop relationships and keep in touch with their global counterparts, they can themselves serve as bridges to others, as their regional networks begin to overlap with their global ones.
LESSON: YOUR RELATIONSHIPS ARE TOMORROW’S PARTNERSHIPS It is important for those working in the arts to cultivate their professional relationships and networks around the world. These relationships— even when maintained only through email or social media—can lead to unexpected creative avenues for funding, support, and audience
CASE STUDY APPROACHING 20 YEARS OF NEW AUDIENCES The Nagoya/Boston Museum of Fine Arts (N/BMFA) is a shining example of the creative and entrepreneurial possibilities that arise when arts institutions commit for the long term. Established in 1999 as a twenty-year partnership between the Boston Museum of Fine Arts and The Foundation for the Arts, Nagoya, the collaboration has flourished into an important community institution in the flourishing commercial center of Nagoya. Curators from both institutions study, share research, and discuss exhibitions. The partnership also offers creative outlets for engaging new audiences. In one recent project, children between the ages of 5 and 10 created drawings and postcards inspired by a printmaking exhibit.
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PART 2 SCRAPPY STRATEGIES FOR COMMON BARRIERS
Overwhelmingly, respondents believe financing is a problem for international cultural engagement. For 85% of respondents, “financial barriers” were selected as at least one of the “biggest challenges associated with implementing international projects.” Yet a closer look shows that many other factors are at play, and that funding only plays a nuanced role in the success of these relationships. In this section, we will look more closely at this dynamic. While it’s clear that more funding is needed, some organizations are already finding innovative ways to make international partnerships work.
MOVING BEYOND GOVERNMENT FUNDING Growing from the long tradition of cultural diplomacy, government funding is the first source of support sought for many international projects. Yet research shows many institutions seek to move beyond this funding model. The downsides of government funding include reporting requirements that can be onerous, especially for small organizations which may not even be equipped to create programs at the scale of government funding. Further, this financing tends to be less predictable over the long term, as government policies and priorities
change; this may be one factor in the brevity of some partnerships discussed in the previous section. Further, government funding does not seem to be neatly aligned with the motivations for doing international partnerships; just 12% of Globals and Alumni reported partnering with the American government on a cultural diplomacy program as the reason to do international engagement. It was the lowest-marked reason in all survey responses. That’s not to say government sponsorship is not a valuable funding source. About 28% of respondents used American government grants to fund international projects, and 13% used foreign government grants. Yet most arts institutions reported funding international programming through general revenue (71%)*. This trend toward internal funding suggests that new sources, and new strategies for bringing more supporters and resources together, can accelerate international partnerships in the arts, reach them further around the world, and extend them longer.
MONEY ISN’T EVERYTHING While funding is a widespread challenge, the research shows that there is room for growth. It is true that there was a significant correlation
* Other funding sources include an American foundation grant or individual gift (26%); funding from an institution outside of the United States (13%); “Other” unspecified funds (13%); and funding from a foreign foundation grant or individual gift (about 10%).
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GLOBALS FULL-TIME STAFF
39% 21% 28%
between institutions’ budgets, staff size, and level of international engagement. While the majority of respondents had fewer than 5 full-time staff members, Globals were more likely to be larger institutions, with larger staff sizes. Interestingly, most of these institutions did not allocate much of their staff or budgets to international work; they primarily dedicated less than 10% of their general budget and the time of fewer than five staff members. And some museums have managed engagement without spending any of their general budget on international work. And there are “scrappy success stories,” including a full 28% of Globals who were conducting international work with fewer than 5 employees on staff, and a full 10% doing it with total annual budgets of less than $100,000. Additionally, the research showed no clear indication that dedicating increased budget or staff time correlated to longer international partnerships. Extending these relationships for
1-5 staff members 6-15 staff members 16-30 staff members
the longer term, and to more regions, may be more about supporting international programming in collaborative ways rather than just through funding.
SPECIFICALLY, PEER-TO-PEER EXCHANGES MAY BE ONE OF THESE COLLABORATIVE STRATEGIES—A SMART WAY TO MAKE PARTNERSHIPS WORK. It’s clear that some institutions are able to pull off international partnerships with limited budgets and staff, and these should provide inspiration for Hopefuls. This research uncovered some preliminary lessons learned. Yet there is still a need for more public discussions and exchange between American arts institutions, as well as with policy, diplomacy, and academic experts, to build on the secrets of success.
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Scrappy Successes
28% of Globals conducted international work with fewer than 5 staff members
10% of Globals conducted international work with total annual budgets of less than
$100,000
18% of Globals and Alumni dedicated 0% of their budgets to international work
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ENTREPRENEURIAL THINKING STRETCHES A BUDGET IA&A has often been involved in creative solutions to solve resource constraints. One show of work by an Israeli sculptor was planned for a small town of just 40,000 people in North Carolina. Because the local museum couldn’t afford the fee, we facilitated a creative solution: most of the fee was paid in-kind, through storage space. The town, a former furnture-making hub, had abundant warehouse space, allowing the artist to store the work for six months until his next show, and saving on the cost of shipping to and from Israel. Similar solutions are available with creative thinking and open lines of communication.
Daniel Hermes, a photography trainee with Michael Segal Photography, between takes on location in Palm Springs.
FINDING RESOURCES THROUGH COLLABORATIONS
avenue Hopefuls may explore in their international ambitions is to weave this kind of “safe space” into their local programming.
Beyond budgets, there were other similarities between Globals that suggest potential inspirations for Hopefuls to form new relationships and LESSON: BE THE CONNECTION YOU connections to reach their goals. For example, a WANT TO SEE IN THE WORLD connection to an academic institution seems to support international work. About 40% of GloAs institutions set out to find new channels for bals, 42% of Alumni, and 29% of Hopefuls were international programming, it is clear that they connected to a university or college, suggesting need to look beyond their own walls and their that academic connections support international traditional sources of funding. For one thing, work. One reason for this relation could be that with a need for new funding sources, it is up to academic institutions often have larger staff and arts champions themselves to find supporters budgets; another could be that academic-affiliwith resonant interests and goals and to ated museums are often specifically asked to demonstrate the potential of international arts partner with language, cultural studies, or other programming to them. And in terms of impleinternational departmentation, there are ments. However, as the other hurdles that personal networks survey respondents say IT IS UP TO ALL OF US TO created through research inhibit work: lack of and academic pursuits sufficient networks, REACH OUT AND FIND are often international, a communication probCOLLABORATORS AND museum attached to an lems, and variations in academic institution may practice from country FORGE RELATIONSHIPS TO find more natural aveto country. These nues for international MAKE THE NEW POSSIBLE. challenges can only be connection. resolved through patient and generous For Hopefuls not relationship-building. already affiliated with an academic institution, it It is up to all of us to reach out and find may be worth exploring partnerships with local collaborators and forge relationships to make institutions as ways to uncover and pursue more the new possible. international opportunities. One participating expert echoed this call during a discussion event: “A lot of necessary projects Another similarity between Globals and Alumni can’t be funded by traditional sources. Finding a is that their role in community is more strongly a partner can help you achieve those shows that “safe space for discussion of sensitive issues” no-one else would help you do.” Practitioners than that of Hopefuls; 52% of Globals and 51% of who see themselves as connectors may be the Alumni see this as one of their roles in their most successful, not only in implementing communities, as opposed to just 32% of Hopeinternational partnerships, but in finding new fuls. This points back to our earlier findings, that funding sources and local resources that can the value of international cultural engagement is ensure healthy and attractive programming. valuable for engaging the local community as well as a global one. And it suggests that one
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CASE STUDY Marie Jacquot, a conducting student at the Aspen Music Festival, takes the lead as she conducts the American Academy of Conducting Orchestra in 2015.
FORMING LASTING PERSONAL RELATIONSHIPS Amidst the gradual opening of relations between the United States and Cuba, the Gay Men’s Chorus of Washington, DC (GMCW) was one of the first American performing arts groups to officially visit the country. GMCW’s trip sought to raise awareness of issues faced by LGBTQ communities. In a moving blog series, Chase Maggiano, thenExecutive Director of GMCW, showed how engagement often happens not only between communities, but at a deeply personal level. “There was acknowledgement throughout the room that it is because we are connecting over music—not speeches, not political dissidence, not policy convenings—that this experience is possible. Once again, music paves the way to mutual understanding,” he wrote.*
* Maggiano, Chase. “Feeling Heard in Cuba,” Washington Blade, 07/15/2015.
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TAKEAWAYS BEST PRACTICES TO GROW ON
In the previous two sections, we detailed two lessons for arts professionals interested in finding their way to start international partnerships. These two are part of a broader approach focusing on fostering personal relationships:
YOUR RELATIONSHIPS ARE TOMORROW’S PARTNERSHIPS Individual relationships often drive institutional partnerships and focusing on individuals can open opportunities.
BE THE CONNECTION YOU WANT TO SEE IN THE WORLD Creative multidisciplinary collaborations can unlock more holistic resources. Networks of support from academic, community, foundation, and other local institutions can drive the success of a partnership far greater than funding alone.
This approach is important not only at inception, but throughout the implementation of an international program or project. In fact, it is one of five core tenets of strong partnerships, identified through consultation and validated through survey responses. We have synthesized these tenets, and share them here for organizations and supporters thinking about how to begin a new international engagement, or further develop an existing one. Embedding these principles into any partnership from the beginning will help ensure its success and help these projects reach a higher potential.
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THE FIVE CORE PRINCIPLES OF INTERNATIONAL CULTURAL ENGAGEMENT
MUTUAL OR COMPLEMENTARY GOALS In pursuing collaborators, take a broader view. Partners from other fields may share your goals and may be interested in crossdisciplinary collaboration. Further, establish metrics of success that speak to all partners’ goals, and be sure to share them widely. Find the first piece of common ground in the shared goals between you and your partners.
1
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OPEN COMMUNICATION, CLEARLY STATED DELEGATION OF RESPONSIBILITY Working relationships across cultures require additional sensitivity to make sure variations in practice don’t damage progress. Communication is also one of your most valuable tools: the more all supporters are engaged, the more they can offer connections and resources throughout the process and in the future. Ensuring that you send an email or even a Facebook message regularly can help maintain efficient involvement throughout implementation. Communicate, communicate, and then communicate some more.
2
FLEXIBILITY AND WILLINGNESS TO COMPROMISE One of the distinguishing features of international cultural engagement is its two-way, participatory nature. This characteristic must extend to the relationships between the partners, audiences, and artists; collaborations should fall in the space of shared goals and with respect for each stakeholder’s preferences and constraints. See limits as artistic challenges that will push to greater beauty.
4
FOSTERING PERSONAL RELATIONSHIPS Individual relationships often lead to institutional programming and commitments. Cultural exchange happens person-to-person, and great programming reflects that intimacy. Every artist and arts professional can lay the groundwork for future programs through their personal relationships, and organizations can support their staff with professional development, trips, research, and conferences, all of which can lead to future programming. Consider each staff member as a creative, renewable source of future programming.
3
CONTINUITY OVER LONG PERIODS OF TIME Cultural understanding happens through trust; communities will not truly develop stronger ties through a single event or exhibition. International cultural engagement is an ongoing process, and partnerships should sustain and deepen through years. While it’s not feasible for every partnership to last twenty years, it’s important to commit to the long-term. Think of each partnership as the beginning of a friendship.
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Michael Chrysanthou, a sound engineering trainee from the United Kingdom, tries his hand at mixing sound with the Los Angeles College of Music.
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LOOKING FORWARD The heart of international work principles are similar to those that drive the communitybased efforts of most arts organizations. Experts recognize that knitting connections with the international community and with the local community are conjoined goals, inseparable from each other. Focusing on one can enhance the other. Something special happens when arts institutions and cultural organizations begin to expand the definition of who is part of their “community.” We need to look beyond our own fields and existing social and professional networks. Through these broader horizons, we can discover new allies who share our goals, and who have lessons learned, best practices, ideas, and resources to move forward together. Survey respondents suggested that gathering events such as conferences, public events, and professional development workshops would all be valuable for their work and growth. Within every potential venue or channel for crossdisciplinary collaboration, there are exponential opportunities. We believe these are some of the
wisest investments that our community and our country can make in the coming year. This philosophy, based in the research findings, will guide the coming year of IA&A and the International Partnership Initiative’s work. This report is just the start of the development of a structure to encourage cross-disciplinary communication and debate, information sharing, and new ways to evaluate and celebrate success. To this end, we will continue to bring experts and practitioners in the arts, policy, diplomacy, and academic worlds together. By sharing diverse perspectives and experiences, we spark new ideas and access resources that were invisible to us, but readily available. It is an approach that creates stronger programs and that gets new audiences excited. It’s an approach that is vital to the creation of art and culture itself. And we believe that in the end, it will be the approach that leads us through the evolution of a more cohesive, trusting, and compassionate global community.
SOMETHING SPECIAL HAPPENS WHEN ARTS INSTITUTIONS AND CULTURAL ORGANIZATIONS BEGIN TO EXPAND THE DEFINITION OF WHO IS PART OF THEIR “COMMUNITY.”
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Snapshot of Survey Respondents
248
museum leaders participated in the survey
median income
$
$168,000
average institutional income
84% located in cities or suburbs
employ fewer than 15 staff
28 | International Arts & Artists
METHODOLOGY This report is based on synthesized findings drawn from both qualitative and quantitative research. Quantitative data come from a survey of American art museum directors and senior leaders conducted in the fall of 2015. The survey was designed to collect information on the types and effectiveness of American museums’ international projects and relationships. Respondents were gathered primarily from the Official Museum Directory, an opt-in registry compiled by the American Alliance of Museums (AAM). The Directory provided detailed information about organization budgets, and was used to compile the respondents list. The Museum Universe Data File, compiled by the Institute of Museum and Library Services (IMLS), was additionally helpful in showing a more complete picture of the American museum landscape. To create the list of survey respondents, survey respondents were Directors or CEOs of American museums that 1) feature fine art; 2) have at least one full-time, paid employee; and 3) are regularly open to the public. Spaces that were located within a place of worship were excluded from the list, but not those that were affiliated with a religious institution. Using these criteria, the survey was sent to a stratified, random sample of 1,078 art museum directors across six geographic regions. The response rate was 23 percent, yielding about 248 responses.
at The George Washington University, and the Orlando Museum of Art. Questions included demographic information, as well as detailed questions about international activities, and how those activities fit into an institutions’ larger visions, values, and goals. The scope of inquiry included questions like: What is the official extent and depth of international work in museum activities? How important is international work to the museum’s official long-term goals? The results of this survey are for the most part in keeping with the demographic indicators found within the IMLS data. Given the limited amount of demographic data available for the museum universe and the survey response rate, this research has a limited generalizability. The takeaways should be considered indicative of trends that merit further investigation. The survey results were also validated and deepened through qualitative feedback from experts in arts, policy, and diplomacy, gathered through a series of public events, high-level meetings, informal interviews, and questionnaires. The public events took place between November 2015 and July 2016, and comprised: • • •
The survey questions themselves were developed in consultation with museum professionals from the American Alliance of Museums, The Smithsonian Institution, the Museum Studies Program
Two lunch meetings with senior leaders from the arts, academic, and policy fields. One mentorship event with arts managers, diplomats, and cultural leaders. Three Art in Context panel events which were cross-disciplinary discussions about art and cultural exchange within the specific contexts of Iran, Ireland, and Pakistan.
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