I resonated most with two concerns posted in Levy’s thesis on the issue of web-presence and the arts: 1, the shifting economics of the funded dance community in relationship to web-environments, and the implications of this shift; and 2, brand identity as it relates to establishing standards and controls in managing an artist’s web-presence.
On the first issue, I am excited at the prospect of dissolving market control by major dance companies through the use of web-platforms/environments; this will provide opportunities for new and emergent artists, but will also demand that the ‘dinosaurs of dance’ wake up and make new, relevant work that connects to other, intelligent audiences.
More significantly, however, an implication of this idea is that it will allow for dance artists to create their home-base in locations that are a/less saturated in the dance arts and b/economically beneficial in the cost of living. I believe that through a strong web-presence, artists and companies can spread across the globe to provide a greater hands-on influence in communities, whilst remaining integrated into the cultural hubs (NYC, SanFran) through touring. This might provide a stronger, universal dance education in small/medium town america through community outreach and education, whilst simultaneously increasing the national/international audience for dance to a higher artistic standard than ’so you think you can dance’.
On the second issue, I am concerned, however, that artists will initially struggle to maintain their independently vibrant and potent voices. This is a concern that I have, because many of the proposed platforms - blogs, wikis, youTube - are not deeply monitored with respects to copy-write and ownership - as is my impression. In a (currently) competitive market for arts funding, issues of credibility, validity and integrity will arise and it will be a challenge to honor the creators of true-wisdom and artistic greatness, rather than shady knock-offs.
From Levy’s Thesis titled “ Creating a Digital Theater: Building New Audience Relationships in the Performing Arts Online.” JAKI LEVY + ITP-NYU + 2007″ 1: “Can a revised online presence change the economics of dance? [and] What would the implications of this new economy be for the field of dance?” 2: “If an organization wishes to maintain their brand identity, the arts community must develop technology or standards to support that. ”
Maintaining artistic integrity is already a challenge, and there are shoddy pieces being funded all the time. Just take a look at the most recent Broadway flop…
With web production, it’s now easier than ever to tell people that your work is not up to par and still be recognized for it…
How will the good stuff rise to the top without competing for internet fame? The wisdom of the crowds will only take us so far…addressing this problem will lead to innovation in how we produce and appreciate art and artists.
Agreed & Understood:
My hope, though, is that these web audiences can inform/be a wiser theater audience that in turn has influence on the funders - similar in the way that 4eyedmonster did by bringing the zip-code statistics to the presenters. Something clear, powerful and direct like that…
I do agree that through a wider and thoughtful web-presence, one artist/company can find a supportive network audience that can even encourage the artistic quality of an artist - fans that ask questions, friendly observers with insights. This exposure provides great opportunity for feedback to any artist…
As time goes, it will be necessary to have an objective towards ‘internet fame?’ Probably, that time has already come! What I’ve appreciated about your work is that you’ve begin to articulate standard practices in this approach that are deeply attuned to the mission of an (the) organization (misnomer)
A challenge that I face is the client/artist who wants ‘it’, but doesn’t want to play the part of being an active member in web communities. They argue that there’s not time for this kind of work when running a non-profit. But if organizations like Ailey, DTW, the Joyce, etc are doing it - and spending money too! - then it’s clearly a valuable and profitable approach. Once again, however, it becomes an issue of resources, knowledge and organization capacity.
What I have noticed - and this is an issue that I wish to understand - is the professional presentation on Facebooks/Myspaces. I guess I just need to get my hands dirty and play with those venues more to make them a marketing tool - reflecting a clients website, logo, images, etc.