APPENDIX III: ARTISTIC VIBRANCY FRAMEWORK

The Artistic Vibrancy Framework was first outlined by the Australia Cultural Council in 2009 as a way for arts organizations to plan, measure and assess their artistic impact in a holistic manner. Recognizing that “the impact of art cannot be wholly explained with numbers, or narrow definitions of ‘excellence,’” the ACC framework identified an artistically healthy organization as one that: supports the development of art and artists; engages and connects with audiences and communities; and contributes to a vibrant society and culture.

The American arts marketing firm Wolf/Brown Consultants introduced the concept in the U.S. the following year. “If the audience is a reflection of what’s on stage, then what use is talking about audience development without talking about programming?” asked Alan Brown. “At the very heart of every arts organization is a process of conceptualizing and curating artistic content. It is the most essential process.”

Based on the ACC and Wolf/Brown agency models, West Michigan Symphony has adopted the framework below to guide its artistic activities. In our program and orchestra developmental planning, we will strive for:

• Clarity on desired programming outcomes at the board level (i.e., what is the organization hoping to achieve by offering programs?)

• Regular debate as to how to balance the commitment to artistic ideals with community relevance (i.e. mission-critical projects vs. blockbuster and single ticket-friendly programming)

• Constant striving for artistic excellence in performance and production

• Consideration of impact on audience (i.e., content relative to the musical literacy of audience)

• Engagement with other arts and non-arts organizations (and their constituents) through programming partnerships

• A demonstrable commitment to continuous improvement on the part of artists and artistic staff, including receptivity to critical feedback on programming and artistry

• An inclusive and consultative program planning process

• A full pipeline of new programming ideas matched to constituencies and resources

• Policies and capital for managing artistic risk

• Innovation in the preservation and development of the art form

• Development of artists of all skill levels

If the audience is a reflection of what’s on stage, then what use is talking about audience development without also talking about programming?

Alan Brown, Wolf/Brown Consultants