Since April 1, NPAC has run a group blog, 'Program Notes', in conjunction with ArtsJournal. Weekly entries posted at www.artsjournal.com/npac by top performing arts bloggers have served as platforms for digital debate and discussion with over 9,000 readers so far. At the convention, both the entries and comments will inform the live NPAC sessions. Continuing the digital effort at the convention, a group of bloggers representing various artistic genres and roles will report on NPAC. Entries on sessions, networking events and performances will be posted throughout the four days, and an open comment field will be created for general discussion.
WHO'S REPORTING FROM DENVERSarah Baird - media and public relations executive, Boosey & Hawkes
Joseph Clifford - outreach and education manager, Dartmouth College Hopkins Center for the Arts
Lawrence Edelson - producing artistic director, American Lyric Theater
James Egelhofer - artist manager, IMG Artists
Ruth Eglsaer - program consultant, Free Night of Theater NYC
Jaime Green - literary associate, MCC Theatre
James Holt - membership and marketing associate, League of American Orchestras
Michelle Mierz - executive director, LA Contemporary Dance Company
Mark Pemberton - director, Association of British Orchestras
Mister MOJO - star, MOJO & The Bayou Gypsies
Sydney Skybetter - artistic director, Skybetter and Associates
Mark Valdez - national coordinator, The Network of Ensemble Theaters
Amy Vashaw - audience & program development director, Center for the Performing Arts at Penn State
Scott Walters - professor, University of North Carolina at Asheville
Zack Winokur - student, The Juilliard School
Megan Young - artistic services manager, OPERA America
Comment highlights"One thing I wonder about, though, is how to judge *why* a play is or isn't working. Of course, the ephemeral "It just is" is lovely and at the heart of art-making, but, for example, we can assume a work is too off-putting or challenging or not funny enough, but what if we're wrong? If we decide to rework something to be more effective to our audience (which isn't always the decision made), is intuition the only tool?"
"But how are dance companies expected to make money if they're giving their art away for free in the supermarket? Or performing in venues that sell under 100 tickets? I realize what you're saying is that there should be a mix; why must I only see The NYC Ballet at Lincoln Center or Ailey at City Center. But the most popular companies can barely make money in the biggest venues in the largest cities. Usually intimacy comes at a price: VIP seats, private major donor events. How do we get the best possible experience at the right price."
"It's time to recognize that everybody's art matters. The hierarchy of genres creates divisions between people, and I for one refuse to believe that my physical experience of music is worth less than my intellectual one."
"In fact, "crossing-over" sometimes works very well within a single artist's projects aside from collaboration. Confusing as hell for industry people, but they don't really understand us any more than we do them. It's just natural and human to want to experiment with the things that are in normal mode, and even though Hilary says "such friction is a good thing" (and this was about ideals, I guess industry people have them too), I don't think anyone wants to be told by a record company how to make a record they already have their heart set on, whether it's written out or you have an elaborate jam."