January 28, 2025 • 18 mins
In this episode, we revisit some of the most powerful insights from last year’s guests to inspire and guide the year ahead. This isn’t just a look back—it’s a call to action for our industry. Listen as fourteen cultural leaders remind us why the arts matter and how we can continue to push boundaries, build connections, and lead with purpose.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:08):
Hello, friends! Danhere. Well, here we are,
just a few weeks into 2025 and italready feels like we've crammed a year's
worth of change into the calendar.
Your post-vacation sense of calm probablylasted just as long as my New Year's
resolutions, but here's the thing.To move forward effectively,
we need to pause, groundourselves, and refocus.
Today's episode is all aboutlooking back to move forward.
(00:30):
We're revisiting some of the mostpowerful insights from last year's amazing
guests. This isn't just a look back,it's a call to action for the year ahead.
These conversations,
they remind us why the arts matter andhow we can keep pushing boundaries,
building connections,and leading with vision.
Let's dive into some lessons that caninspire all of us as we step boldly into
the new year.
(00:59):
One of the biggest lessons from lastyear was that leadership and marketing
demand courage and creativity,especially in the arts.
Our guests reminded us that stayingrelevant isn't about playing it safe.
It's about embracing calculatedrisks and bold ideas.
Whether it's rethinking organizationalstrategies or trying daring campaigns,
they've shown us that real impact comesfrom having the bravery to challenge the
(01:21):
status quo. Here's New York City Ballet'sartistic director, Jonathan Stafford.
Be courageous.
It's so nervy to sitin this chair sometimes
knowing that people are notgoing to like what you do,
knowing that dancers are goingto be unhappy with casting,
knowing that there could be boardmembers who don't like the most recent
(01:41):
commission you did, knowing thatyou can't keep everybody happy,
but you have to have the courageto go for it because especially in
arts and with what's goingon in our world right now,
we have to put what we believeis beautiful out there.
We have to put what we believe isinteresting, what sends a message,
what tells a story, whatuplifts something or somebody...
(02:05):
we have to put it outthere. We cannot play it.
Safe performing arts organizations,the minute you become too safe,
you become irrelevant andyou fade away. Prudency,
thoughtfulness, not being impulsive-- of course. As a leader,
you have to be reallycareful with certain things,
but you can't just play it safewith every decision you make.
(02:26):
Social superstar RachelKarten had a similar message.
I think that there's a feelinglike if we show too much,
then people won't be incentivized to come,
or if we loosen up too much,the prestige will be gone.
And I would say that to me,
(02:46):
and to I am sure a lotof potential customers
or viewers younger than me,
that is going to be the thingthat makes them want to come.
Organic social media can be thatentry point for a lot of people,
and approaching those platforms ina way that feels like how people
(03:07):
want to consume there, Ithink, is really important.
Another big topic was thepower of representation and inclusivity in the arts.
Loki Karuna inspired us to ask thetough questions. Who are we serving?
Whose stories are we telling?
And how can we make our art moreaccessible and relevant to the communities
around us? I would invite peopleto really, honestly ask themselves,
(03:28):
who are we serving?
And once that question is answeredand identified in an honest way,
what follows is doing the work to reallyfix the problems that are there or to
enhance the successes that arethere. So I think across the board,
that is what I would askpeople to really think about.
Who are you serving and how can youserve a broader audience or serve the
(03:52):
audience that you believethat you want to serve?
And think about who you'reengaging in your everyday life.
We talk a lot about wantingto diversify our spaces. Well,
what spaces do you alreadyengage that are diverse?
Is it the grocery store? Isit your local sports team?
Is your place of worship a diverse space?
(04:13):
Are the spaces in which you take inculture -- are those spaces diverse?
Think about how this conversationapplies to your very own personal life,
your everyday lived experience,
and see how you can make changes inyour life that you can apply to your
environment and your institution.The answers to these questions require not
just listening, but acommitment to action.
(04:34):
Take it from Isabelle Ramey andJenna Magrath at Dance Data Project.
Let's look beyond whatwe've always done. I mean,
we know that we need to break down someof these traditions that aren't serving
us anymore, especiallyin the ballet industry.
If you have the same listof choreographers you always pull from for a mixed rep
show, let's shake it up and let's takea chance. Because we're in the arts,
(04:57):
we're trying to make change. This isexactly where change should start,
but we're lagging behind.
We love to say that as artists,
that we're change makers and that we wantto change the world and make a better
place.
So I think just practicing what wepreach and embodying that and taking
that upon ourselves.
Survival in the arts requiresadaptability and vision.
(05:21):
The world is changing and the artsmust change with it. As Phil Chan said,
it's not about forgetting the past.
It's about evolving to meet the needsand values of today's audiences while
staying true to the art's essence.The arts are alive, dynamic,
and ever-growing like a garden thatneeds constant care and nourishment.
If you want to survive, if youdon't want us to be redundant,
(05:45):
if you want us to stay relevant,
if you want to make sure we're hittingour ticket sales goals and our donation
goals and the enrollmentin our schools are high,
and we want there to be an interest anda love that is cultivated for these art
forms for the future, we needto think much, much bigger.
That involves seeing eachother with more nuance.
(06:07):
That involves bringing people inwho we normally might not think
belongs here,
and we need to do that for the sakeof keeping our art -- to survive.
Change is baked into our equation as well.
I like to think of changein the performing arts as sort of like the difference
between a museum and a garden.
(06:30):
I live right down the street from theBrooklyn Botanic Garden and the Brooklyn
Museum right next to each other. Thecurator at the museum has a very different
job than the curatorat the Botanic Gardens.
So the job of the staticarts, so film, paintings,
sculpture, those don't change. Youcan't change the Mona Lisa, right?
It captures the zeitgeist of amoment. In order to preserve that,
(06:52):
you need to make sure thatthe conditions are controlled.
That it's not too warm, nottoo humid. It's out of the sun.
You really have to protect the art.Whereas with the performing arts,
it's like a living organicthing. It's like the trees.
You need fertilizer, you need sun,you need rain, you need pollenators,
you need bugs, you need pruning.
(07:16):
And that's very much how I approachthe works of the performing arts.
Change is part of the equationbecause we, as people change,
our response to the artalso changes, right?
Old jokes don't land the sameway that they used to now.
Something you might be okay with inthe past now comes across as incredibly
offensive or sexist or racist, whatever.But if there's inherent value in it,
(07:38):
if there's something beautiful there,
we need to help the art change tokeep it alive. And so that's, I guess,
our job as creatives in this moment,especially when we're looking to the past,
to our canon, to ourown history and legacy,
is we need to be open to that change.
John Orr and Elizabeth Yntema remindedus that representation isn't just about
(07:59):
optics. It's about buildingtrust, fostering empathy,
and ensuring the arts reflect the richdiversity of the world we live in.
And letting the community lead is how wemove from good intentions to meaningful
change.
You have to be accessible,
and you should ask your communitythat's around you how to do it.
Let them lead. Let them be notjust a part of that conversation,
(08:22):
let them drive that conversation.
Because otherwise you're notgoing to get as far as you could.
It is a reality that developmentdirectors sit in on programming meetings,
and they can very often havean overweighted influence.
Their job is to curate a small group of
(08:44):
older, usually more conservative donors,
and make sure they come through withbig gifts. And I've seen it happen,
and that really alters programming.
And that's across the board. "Oh,
I can't sell that," or "I don't know howMrs. So-and-so is going to feel about
that." That really to meis a dereliction of duty,
(09:06):
and that is an asymmetric use ofpower that I think most people
outside of performing artsorganizations or museums, et cetera --
"I can't sell." That becomesthe mantra. "I can sell this.
I can't sell that." And theassumption is if it's a piece
done, made, curated, whatever,
(09:26):
by a rock star filmmaker, choreographer,
usually white and male, oh,
I can sell that.And I see that insidious tilting,
any not-for-profit existsto benefit the community.
So we are answerable to our constituents,
who are our taxpayers, or morespecifically the communities around us.
(09:48):
And I think we really do need areorientation of thought that way.
Nobody has to go to a performance anymore.
There are so many more outlets outthere that the competition is much
fiercer. And instead ofdoubling down on retrograde,
opening yourself up anddoing the tough work of
introducing yourself to audiencesand people you didn't know before,
(10:11):
which is uncomfortable, but I thinkthat's where the obligation is.
Wondering how best to engagethese new audiences? Well,
sometimes the most transformativeideas come from stepping outside of our
comfort zones.
Holly Mulcahy taught us to reconnectwith what it feels like to discover
something new, to feel theuncertainty our audiences might feel,
and to let that inspire our work.
(10:33):
I think as arts administratorsand as artists --
and this goes for everybody on the otherside of the stage, not the audience,
but people who are very familiarwith our art -- I think,
find the most uncomfortable thingthat you don't know anything about,
and go to it. And I'llgive you an example.
When we first moved toChicago a number of years ago,
(10:55):
I'd never been to a hockey game. AndI thought, this is uncomfortable.
I am a classical, classicallytrained musician. I tell you what,
if you stand up in a hockeygame while the puck is in play,
you'll get chastised. Ilearned that the hard way.
There are rules,
and I think feeling that opens yourmind and makes you look into your
(11:18):
own art and your ownexperience differently.
So I would encourage everybody to go tosomething that they are not comfortable
with, with open eyes and an openheart and feel that vulnerability,
feel the shame.
I'd also encourage everybody to gothrough their own ticket buying process.
Know what it's like to buy a ticket.
Know what it's like to park in thepaid parking, not the employee parking,
(11:41):
but the paid parking.
Know what it's like to not understandwhere you're going to sit and
just feel it in the most vulnerable way.
And the best way to feel vulnerableis to find something that you're not
interested in and do it becauseit really opens your mind very
fast.
Another big takeaway?
Bold transformation is key to layingthe foundation for a more sustainable,
(12:04):
impactful future.
Monica Holt encouraged us to reimaginehow we structure and resource our
organizations,
while Aubrey Bergauer challenged us tofind creative ways to optimize everything
around the art to ensure its success.
Leadership's role is to betaking care of the staff of that
organization.
And I think sometimes it's easyto skip that piece and say,
(12:27):
leadership's role is to make sure thatwe are presenting the best artists on our
stages or having the mostinclusive spaces in the
country on our site. Thatis the organization's goal.
How is leadership empowering anduplifting the staff that needs
to deliver on that mission?
And I think what the readingbetween the lines there is
(12:51):
has to do with staffing,resourcing, and compensation.
And I think that our industry was builtin a way that a lot of nonprofits are,
on the hopes and dreams andbeliefs of their youngest staff,
carrying them through acompensation scheme that was
never meant to be on equalfooting to the corporate world.
(13:15):
And I think we're going to see moreand more over time that grace and
belief in mission, vision,
values isn't going to overcomethe need for resources.
Our product, our artistic product,is our greatest, greatest strength,
and we have that in our corner.
So many organizations and industrieswant a strong product, but we have it.
(13:37):
And we've worked literally hundredsof years to get to that point,
and we should be so proud of that.
So the work before usthen is to optimize those
things surrounding that excellentproduct. And when we start doing that,
I feel like it blows thedoors wide open for us.
Above all, our guests remindedus why we do this work.
(13:59):
The arts connect us to creativity,beauty, and each other. They inspire,
challenge, and heal. Take it fromCI's President Priya Iyer Doshi.
I really do believe thatpart of why the arts are so
powerful is because they offer the
opportunity to see new, different,
(14:20):
diverse stories show up in front of us.
And as we listen more,
we build empathy and openness to what that
then can allow us to do andcan allow future leaders to do.
Our work is not always easy, but as RachelHagemeier so beautifully reminded us,
it's worth it.
(14:41):
We are very lucky that we get towitness amazing creators all the time
and to remind ourselves that when it isreally hard, when we look at the field,
that we're like, "Funding is going away,
all of the grants, we don'teven qualify for them anymore.
All the United Artsfunds are disappearing.
What are we going to do?" Art isresilient, and we are resilient,
(15:05):
and we will come up with ways tonavigate this if we remind ourselves and
celebrate each otherand lift each other up.
Because the more we celebratepublicly and say things out loud,
the more communities are going towant to be a part of that celebration.
Let's bring it home with ChrisBrown of Orlando Family Stage,
(15:25):
who spoke to us about fighting for thefuture of the cultural sector in Florida
and beyond. His words continue to resonatewith arts leaders across the country.
Keep going. Find peers to connect with,
because those connectionscan give you perspective.
And don't back down. Let's fix this.
(15:45):
This is not a problemwith central Florida.
It's exacerbated in central Florida,
but it is around the nation,
and I don't like seeingtheaters close all over the
place. We need to reallyunderstand the value
(16:05):
and what these skillsand these experiences can
truly do for our future.
More empathy is needed in the world.We teach kids -- so the mission is,
we empower kids to bebrave and empathetic.
We need empathy in the world right now.We need to be caring for our neighbor,
(16:27):
and we need to be braveenough and confident enough to speak up when we know we
need to. So keep chuggingout there, executives.
I'm with you and I'm rooting for you.
And if you need to get away from yoursnow, just come on down to Orlando.
Together we have the power to shapethe future of the arts and create
(16:48):
connections that truly matter.
This work is important andyou're not alone in it.
Here's to a new year of supportingeach other, making bold choices,
and creating transformative artthat leaves a lasting impact.
(17:14):
Thank you for listening to CI To Eye.
This episode was edited and produced byKaren McConarty and co-written by Karen
McConarty and myself, Dan Titmuss.
Stephanie Medina and Jess Berube are CIto Eye's designers and video editors,
and all work together tocreate CI's digital content.
Our music is by whoisuzo. Ifyou enjoyed today's episode,
(17:34):
please take a moment torate us or leave a review.
A nice comment goes a long way in helpingother people discover CI to Eye and
hear from experts in the arts and beyond.If you didn't enjoy today's episode,
pass it on to all of your enemies.Don't forget to follow us on Facebook,
Instagram, LinkedIn, YouTube,
and TikTok for regular contentto help you market smarter.
(17:56):
You can also sign up for our newsletterat capacityinteractive.com so you never
miss an update. And ifyou haven't already,
please click the subscribe buttonwherever you get your podcasts.
Until next time, stay nerdy.
Hello, friends! Danhere. Well, here we are,
just a few weeks into 2025 and italready feels like we've crammed a year's
worth of change into the calendar.
Your post-vacation sense of calm probablylasted just as long as my New Year's
resolutions, but here's the thing.To move forward effectively,
we need to pause, groundourselves, and refocus.
Today's episode is all aboutlooking back to move forward.
(00:30):
We're revisiting some of the mostpowerful insights from last year's amazing
guests. This isn't just a look back,it's a call to action for the year ahead.
These conversations,
they remind us why the arts matter andhow we can keep pushing boundaries,
building connections,and leading with vision.
Let's dive into some lessons that caninspire all of us as we step boldly into
the new year.
(00:59):
One of the biggest lessons from lastyear was that leadership and marketing
demand courage and creativity,especially in the arts.
Our guests reminded us that stayingrelevant isn't about playing it safe.
It's about embracing calculatedrisks and bold ideas.
Whether it's rethinking organizationalstrategies or trying daring campaigns,
they've shown us that real impact comesfrom having the bravery to challenge the
(01:21):
status quo. Here's New York City Ballet'sartistic director, Jonathan Stafford.
Be courageous.
It's so nervy to sitin this chair sometimes
knowing that people are notgoing to like what you do,
knowing that dancers are goingto be unhappy with casting,
knowing that there could be boardmembers who don't like the most recent
(01:41):
commission you did, knowing thatyou can't keep everybody happy,
but you have to have the courageto go for it because especially in
arts and with what's goingon in our world right now,
we have to put what we believeis beautiful out there.
We have to put what we believe isinteresting, what sends a message,
what tells a story, whatuplifts something or somebody...
(02:05):
we have to put it outthere. We cannot play it.
Safe performing arts organizations,the minute you become too safe,
you become irrelevant andyou fade away. Prudency,
thoughtfulness, not being impulsive-- of course. As a leader,
you have to be reallycareful with certain things,
but you can't just play it safewith every decision you make.
(02:26):
Social superstar RachelKarten had a similar message.
I think that there's a feelinglike if we show too much,
then people won't be incentivized to come,
or if we loosen up too much,the prestige will be gone.
And I would say that to me,
(02:46):
and to I am sure a lotof potential customers
or viewers younger than me,
that is going to be the thingthat makes them want to come.
Organic social media can be thatentry point for a lot of people,
and approaching those platforms ina way that feels like how people
(03:07):
want to consume there, Ithink, is really important.
Another big topic was thepower of representation and inclusivity in the arts.
Loki Karuna inspired us to ask thetough questions. Who are we serving?
Whose stories are we telling?
And how can we make our art moreaccessible and relevant to the communities
around us? I would invite peopleto really, honestly ask themselves,
(03:28):
who are we serving?
And once that question is answeredand identified in an honest way,
what follows is doing the work to reallyfix the problems that are there or to
enhance the successes that arethere. So I think across the board,
that is what I would askpeople to really think about.
Who are you serving and how can youserve a broader audience or serve the
(03:52):
audience that you believethat you want to serve?
And think about who you'reengaging in your everyday life.
We talk a lot about wantingto diversify our spaces. Well,
what spaces do you alreadyengage that are diverse?
Is it the grocery store? Isit your local sports team?
Is your place of worship a diverse space?
(04:13):
Are the spaces in which you take inculture -- are those spaces diverse?
Think about how this conversationapplies to your very own personal life,
your everyday lived experience,
and see how you can make changes inyour life that you can apply to your
environment and your institution.The answers to these questions require not
just listening, but acommitment to action.
(04:34):
Take it from Isabelle Ramey andJenna Magrath at Dance Data Project.
Let's look beyond whatwe've always done. I mean,
we know that we need to break down someof these traditions that aren't serving
us anymore, especiallyin the ballet industry.
If you have the same listof choreographers you always pull from for a mixed rep
show, let's shake it up and let's takea chance. Because we're in the arts,
(04:57):
we're trying to make change. This isexactly where change should start,
but we're lagging behind.
We love to say that as artists,
that we're change makers and that we wantto change the world and make a better
place.
So I think just practicing what wepreach and embodying that and taking
that upon ourselves.
Survival in the arts requiresadaptability and vision.
(05:21):
The world is changing and the artsmust change with it. As Phil Chan said,
it's not about forgetting the past.
It's about evolving to meet the needsand values of today's audiences while
staying true to the art's essence.The arts are alive, dynamic,
and ever-growing like a garden thatneeds constant care and nourishment.
If you want to survive, if youdon't want us to be redundant,
(05:45):
if you want us to stay relevant,
if you want to make sure we're hittingour ticket sales goals and our donation
goals and the enrollmentin our schools are high,
and we want there to be an interest anda love that is cultivated for these art
forms for the future, we needto think much, much bigger.
That involves seeing eachother with more nuance.
(06:07):
That involves bringing people inwho we normally might not think
belongs here,
and we need to do that for the sakeof keeping our art -- to survive.
Change is baked into our equation as well.
I like to think of changein the performing arts as sort of like the difference
between a museum and a garden.
(06:30):
I live right down the street from theBrooklyn Botanic Garden and the Brooklyn
Museum right next to each other. Thecurator at the museum has a very different
job than the curatorat the Botanic Gardens.
So the job of the staticarts, so film, paintings,
sculpture, those don't change. Youcan't change the Mona Lisa, right?
It captures the zeitgeist of amoment. In order to preserve that,
(06:52):
you need to make sure thatthe conditions are controlled.
That it's not too warm, nottoo humid. It's out of the sun.
You really have to protect the art.Whereas with the performing arts,
it's like a living organicthing. It's like the trees.
You need fertilizer, you need sun,you need rain, you need pollenators,
you need bugs, you need pruning.
(07:16):
And that's very much how I approachthe works of the performing arts.
Change is part of the equationbecause we, as people change,
our response to the artalso changes, right?
Old jokes don't land the sameway that they used to now.
Something you might be okay with inthe past now comes across as incredibly
offensive or sexist or racist, whatever.But if there's inherent value in it,
(07:38):
if there's something beautiful there,
we need to help the art change tokeep it alive. And so that's, I guess,
our job as creatives in this moment,especially when we're looking to the past,
to our canon, to ourown history and legacy,
is we need to be open to that change.
John Orr and Elizabeth Yntema remindedus that representation isn't just about
(07:59):
optics. It's about buildingtrust, fostering empathy,
and ensuring the arts reflect the richdiversity of the world we live in.
And letting the community lead is how wemove from good intentions to meaningful
change.
You have to be accessible,
and you should ask your communitythat's around you how to do it.
Let them lead. Let them be notjust a part of that conversation,
(08:22):
let them drive that conversation.
Because otherwise you're notgoing to get as far as you could.
It is a reality that developmentdirectors sit in on programming meetings,
and they can very often havean overweighted influence.
Their job is to curate a small group of
(08:44):
older, usually more conservative donors,
and make sure they come through withbig gifts. And I've seen it happen,
and that really alters programming.
And that's across the board. "Oh,
I can't sell that," or "I don't know howMrs. So-and-so is going to feel about
that." That really to meis a dereliction of duty,
(09:06):
and that is an asymmetric use ofpower that I think most people
outside of performing artsorganizations or museums, et cetera --
"I can't sell." That becomesthe mantra. "I can sell this.
I can't sell that." And theassumption is if it's a piece
done, made, curated, whatever,
(09:26):
by a rock star filmmaker, choreographer,
usually white and male, oh,
I can sell that.And I see that insidious tilting,
any not-for-profit existsto benefit the community.
So we are answerable to our constituents,
who are our taxpayers, or morespecifically the communities around us.
(09:48):
And I think we really do need areorientation of thought that way.
Nobody has to go to a performance anymore.
There are so many more outlets outthere that the competition is much
fiercer. And instead ofdoubling down on retrograde,
opening yourself up anddoing the tough work of
introducing yourself to audiencesand people you didn't know before,
(10:11):
which is uncomfortable, but I thinkthat's where the obligation is.
Wondering how best to engagethese new audiences? Well,
sometimes the most transformativeideas come from stepping outside of our
comfort zones.
Holly Mulcahy taught us to reconnectwith what it feels like to discover
something new, to feel theuncertainty our audiences might feel,
and to let that inspire our work.
(10:33):
I think as arts administratorsand as artists --
and this goes for everybody on the otherside of the stage, not the audience,
but people who are very familiarwith our art -- I think,
find the most uncomfortable thingthat you don't know anything about,
and go to it. And I'llgive you an example.
When we first moved toChicago a number of years ago,
(10:55):
I'd never been to a hockey game. AndI thought, this is uncomfortable.
I am a classical, classicallytrained musician. I tell you what,
if you stand up in a hockeygame while the puck is in play,
you'll get chastised. Ilearned that the hard way.
There are rules,
and I think feeling that opens yourmind and makes you look into your
(11:18):
own art and your ownexperience differently.
So I would encourage everybody to go tosomething that they are not comfortable
with, with open eyes and an openheart and feel that vulnerability,
feel the shame.
I'd also encourage everybody to gothrough their own ticket buying process.
Know what it's like to buy a ticket.
Know what it's like to park in thepaid parking, not the employee parking,
(11:41):
but the paid parking.
Know what it's like to not understandwhere you're going to sit and
just feel it in the most vulnerable way.
And the best way to feel vulnerableis to find something that you're not
interested in and do it becauseit really opens your mind very
fast.
Another big takeaway?
Bold transformation is key to layingthe foundation for a more sustainable,
(12:04):
impactful future.
Monica Holt encouraged us to reimaginehow we structure and resource our
organizations,
while Aubrey Bergauer challenged us tofind creative ways to optimize everything
around the art to ensure its success.
Leadership's role is to betaking care of the staff of that
organization.
And I think sometimes it's easyto skip that piece and say,
(12:27):
leadership's role is to make sure thatwe are presenting the best artists on our
stages or having the mostinclusive spaces in the
country on our site. Thatis the organization's goal.
How is leadership empowering anduplifting the staff that needs
to deliver on that mission?
And I think what the readingbetween the lines there is
(12:51):
has to do with staffing,resourcing, and compensation.
And I think that our industry was builtin a way that a lot of nonprofits are,
on the hopes and dreams andbeliefs of their youngest staff,
carrying them through acompensation scheme that was
never meant to be on equalfooting to the corporate world.
(13:15):
And I think we're going to see moreand more over time that grace and
belief in mission, vision,
values isn't going to overcomethe need for resources.
Our product, our artistic product,is our greatest, greatest strength,
and we have that in our corner.
So many organizations and industrieswant a strong product, but we have it.
(13:37):
And we've worked literally hundredsof years to get to that point,
and we should be so proud of that.
So the work before usthen is to optimize those
things surrounding that excellentproduct. And when we start doing that,
I feel like it blows thedoors wide open for us.
Above all, our guests remindedus why we do this work.
(13:59):
The arts connect us to creativity,beauty, and each other. They inspire,
challenge, and heal. Take it fromCI's President Priya Iyer Doshi.
I really do believe thatpart of why the arts are so
powerful is because they offer the
opportunity to see new, different,
(14:20):
diverse stories show up in front of us.
And as we listen more,
we build empathy and openness to what that
then can allow us to do andcan allow future leaders to do.
Our work is not always easy, but as RachelHagemeier so beautifully reminded us,
it's worth it.
(14:41):
We are very lucky that we get towitness amazing creators all the time
and to remind ourselves that when it isreally hard, when we look at the field,
that we're like, "Funding is going away,
all of the grants, we don'teven qualify for them anymore.
All the United Artsfunds are disappearing.
What are we going to do?" Art isresilient, and we are resilient,
(15:05):
and we will come up with ways tonavigate this if we remind ourselves and
celebrate each otherand lift each other up.
Because the more we celebratepublicly and say things out loud,
the more communities are going towant to be a part of that celebration.
Let's bring it home with ChrisBrown of Orlando Family Stage,
(15:25):
who spoke to us about fighting for thefuture of the cultural sector in Florida
and beyond. His words continue to resonatewith arts leaders across the country.
Keep going. Find peers to connect with,
because those connectionscan give you perspective.
And don't back down. Let's fix this.
(15:45):
This is not a problemwith central Florida.
It's exacerbated in central Florida,
but it is around the nation,
and I don't like seeingtheaters close all over the
place. We need to reallyunderstand the value
(16:05):
and what these skillsand these experiences can
truly do for our future.
More empathy is needed in the world.We teach kids -- so the mission is,
we empower kids to bebrave and empathetic.
We need empathy in the world right now.We need to be caring for our neighbor,
(16:27):
and we need to be braveenough and confident enough to speak up when we know we
need to. So keep chuggingout there, executives.
I'm with you and I'm rooting for you.
And if you need to get away from yoursnow, just come on down to Orlando.
Together we have the power to shapethe future of the arts and create
(16:48):
connections that truly matter.
This work is important andyou're not alone in it.
Here's to a new year of supportingeach other, making bold choices,
and creating transformative artthat leaves a lasting impact.
(17:14):
Thank you for listening to CI To Eye.
This episode was edited and produced byKaren McConarty and co-written by Karen
McConarty and myself, Dan Titmuss.
Stephanie Medina and Jess Berube are CIto Eye's designers and video editors,
and all work together tocreate CI's digital content.
Our music is by whoisuzo. Ifyou enjoyed today's episode,
(17:34):
please take a moment torate us or leave a review.
A nice comment goes a long way in helpingother people discover CI to Eye and
hear from experts in the arts and beyond.If you didn't enjoy today's episode,
pass it on to all of your enemies.Don't forget to follow us on Facebook,
Instagram, LinkedIn, YouTube,
and TikTok for regular contentto help you market smarter.
(17:56):
You can also sign up for our newsletterat capacityinteractive.com so you never
miss an update. And ifyou haven't already,
please click the subscribe buttonwherever you get your podcasts.
Until next time, stay nerdy.
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