What Can We Do? Part 3

This is the third in a four part series that I am writing in response to last Tuesday’s election results because for me, writing is way of thinking, knowing, and understanding. In the first post, I tried to take a positive tone, considering what cultural leaders can productively do. In the second post, I shared my personal feeling of disorientation and a tool that helped me get past it. In this third post, I share my anger, and while ultimately offering a recommendation of sorts, acknowledge that I may surprise, anger, or even offend some readers. Today, I am using the bully pulpit of my blog to share how I really feel in a far less varnished way than I usually do. (If gynecological exams make you squeamish, stop reading now and skip to part four, on servant leadership.)

The Woman Thing 

Emotionally, the hardest part of this election result for me is my anger and extreme disappointment — and did I mention anger – over the fact that my 16 year old daughter saw an accomplished, qualified, articulate, prepared, intelligent woman lose this campaign to a serial sexual molester and misogynist who doesn’t do his homework. Let’s face it: Hillary lost because she’s a woman.

My daughter is a very hard worker, a straight A student, who worked for the last two months as an intern for the Anne Kirkpatrick senatorial campaign. (In a year when people were supposedly voting for big change, they re-elected the five-term John McCain, instead of a woman who had represented northern Arizona in the US House.) I can’t explain what happened to Hillary Rodham Clinton in a rational, evidenced-based way. My daughter, along with all the daughters in America watched a “good girl” who followed the rules (email server excepted) win the popular vote and still lose the election. How can I tell my daughter to play by the rules? How can I tell her that if she works just a little bit harder

MD001285than the boys she will have the same chances as them? Hillary worked a lot harder than the boys. Not only has she worked harder, she has been more thoroughly examined than any candidate in history – certainly working harder than the unqualified buffoon who is ahead in the electoral college. I liken the public examination of Hillary Rodham to something only women experience: Hillary has had her feet up in the stirrups on the exam table with the entire world looking into every cavity, every email, and every tax return.

And that metaphor describes the way I and, I think, a lot of woman across this great and vast country are feeling: like we are collectively on the exam table, feet in the stirrups, with Donald J. Trump, president-elect, holding a cold speculum in his little orange hands. speculumI will not let him or his evolution-denying running mate anywhere near my body. Ultimately, that is what this election and so many of our statewide elections are about: controlling women’s bodies. One could argue that it’s also about controlling bodies of color, and I wouldn’t disagree, but while I empathize with the anger, frustration, and fear my friends and colleagues of color are feeling, I don’t experience it myself and this post, more personal than most, is about my own anger, frustration, and fear.

I fear for myself, I fear for my daughter, and I fear for all women’s bodies. VP-elect Mike Pence is now head of the presidential transition team. A transition team, I note, that has eighteen members, only one woman, and no (nada, nil, zero) people of color on it. This is the same Mike Pence who, as governor of Indiana, signed into law the most restrictive abortion law in the nation, even requiring that fetal tissue be buried or cremated, whether or not the woman from whom that tissue was extracted wanted such internment. Donald Trump, on the other hand, doesn’t want to control women’s bodies because he believes them to be baby-carrying vessels from God, but because he seems to believe he literally owns them. This is the man, owner of the Miss Universe pageant, who famously said, “You can do anything. Grab ’em by the pussy. You can do anything.” You, Mr. President-Elect, cannot grab my pussy! And, if you walk behind me, how my ass looks has nothing to do with my ability to perform in a debate or to run a classroom, a household, or a country.

There, I got that out of my system, and if you’ve stuck with me this far, you can breath, my rant is over and I turn instead to the theme of this series: What can we do? In her recent Op-Ed, Jessica Bennett closes by summarizing Hillary Rodham Clinton’s concession speech:

“Of course, on Wednesday after her defeat, Mrs. Clinton got up, put on her pantsuit, and kept on plugging. She didn’t sulk, or throw a fit, complain, or blame anybody else. She was gracious, humble, and professional. And no doubt she’ll keep fighting. Because that’s what women do.”

Well, what if we didn’t. What if we stop being gracious and humble? what if we stop following the rules? What if we stop deferring to men? What if we got our feet out of thosefrom-med-supplier-dot-com damn stirrups? To very loosely paraphrase Arlo Guthrie, if one woman were to do so, she would be called a bitch (as Hillary has been, as have many women), but if three women do it, it starts to look like an organization, and if fifty women say “STOP! You cannot grab my pussy! STOP! You do not own my body!” then it would be movement. We’ve had them before. One of them even got us the vote. Maybe the next one can get us the White House.

[Photos from: Sunnybrook Hospital; medsupplier.com; Clinton industries (no relation)]

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What Can We Do? Part 2

This is the second in a four (or more) part series. This particular post was born out of the feeling of extreme disorientation I felt sitting at my desk Wednesday morning.

My Epistemological Existential Crisis

For background, I note I am a lifelong theatre artist, but also have a PhD in a social science field (public administration and policy). Yesterday, I wrote about connecting the dots of electoral data to identify opportunity for cultural leaders in the wake of the stunning defeat of experience and rationality Tuesday night. I love finding patterns in data, whether quantitative or qualitative. This semester, I am loving helping students to find patterns and connect the dots in my strategy class. So, like many across the country, I ask: HOW DID THE POLLING DATA GO SO HORRIBLY WRONG? I’m not going to answer that question – I’m not a pollster or methodologist. What I am is a human whose way of knowing has been upended.

Sitting at my desk Wednesday morning during open office hours, I felt that the ground hadn’t just shifted below the Pilates ball on which I sat, but rather that I wasn’t on solid ground at all; that the ground was riddled with holes, elastic, permeable. Yes, emotions are data points too. Why did I feel this way and what could I, individually, do about it? As our systems and institutions re-calibrate to this unexpected reality, what could I do as an individual to again feel like I could move forward on solid ground? If data analysis could be so wrong, where would I find solid ground from which to begin to understand the world?

When I dropped off my 16yo at school that morning after the election, instead of saying, “make good choices,” I said “do good work,” which her generation is now especially burdened to do. The phrase I used reminded me of Gardner, Damon, and Csikszentmihalyi’s “Good Work Project.” (“Good work” is work that is excellent, responsible, and meaningful.) I hadn’t looked at the site in a while and had forgotten that it includes a value sorting activity, similar to the one I had my students do in their leadership class. I took a deep breath, and asked myself, “What are my values in this new reality? Have my values changed?” I slowed down my reeling psyche and spent some time with the value sorting exercise. The values by which I make decisions, the values I try to live by, have not changed. They are the values that led me to support Hillary Clinton, bring me into the classroom each week, and drive my passion for supporting artists. But in that moment, (re)examining my values served another purpose, more important in that moment and more personal: reaffirming values, at least and at first, made me feel like there is indeed solid ground beneath my feet. Living our values begins with an understanding of self, which can only happen with sure footing.


The very act of sorting through The Good Work Project’s value cards was calming. If, like me, your anxiety level is higher than normal as a result of existential (and in my case epistemological) uncertainty, I recommend this exercise as a form of contemplative reflection and self-care. In this time of great uncertainty, take care of that self and then let’s move forward together from solid ground. And, never ever look at Nate Silver’s fivethirtyeight blog again.

Tomorrow: The Woman Thing

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What Can We Do? Part 1

Like many political moderates, I was stunned by the outcome of the recent presidential election. My children, who are politically to my left, are bereft; I worry for them personally while they worry for our country and our planet. Because I have come to realize that the act of writing is, for me, the act of thinking and information processing, I am planning several posts (4 so far) that address the question “What Do We Do Now?” This first is about connecting the data dots and cultural opportunity. The second is about the epistemological existential crisis of the election; the third is on the woman thing; and the fourth on servant leadership.

What can cultural leaders do?

 I have been teaching a class on Opportunity Recognition in the Creative and Cultural Industries to a group of students in the Curb MA in Creative Enterprise and Cultural Leadership. 100% of the students in the program fall into one or more of the following demographic categories: woman, person of color, immigrant, LGBTQ. I don’t know how they voted and won’t make assumptions based on demographic markers, but I would say that the mood in my classroom on Wednesday was very somber.

More than anything else, this class is about the cognitive process of “connecting the dots” to recognize opportunity, and how to ask the right questions to achieve creative solutions. So, without making assumptions about how they voted, I asked the class:

What does the election data tell us about the country and what opportunities are there for cultural leaders if we connect the dots?

screen-shot-2016-11-10-at-9-52-16-amA lot of attention is being paid to demographic outcomes like “the women’s vote,” “the Latinx vote,” the “White working class vote,” and so on, many of which defied the expectations set up by pollsters and analysts. Looking at the geography that uses actual voting results is, in my opinion, more accurate than any exit polling can be (we have seen that polling is inaccurate; more on that in the next post). What the maps of election results show us is that there is a deep divide between urban and non-urban Americans. In general, the densely populated (and well-educated) cities went for Clinton and the less dense (and less well-educated) rural Americascreen-shot-2016-11-10-at-9-52-39-am went for Trump. (One notable exception is the rural counties of my state of Arizona, two of which are populated largely by Native Americans.) We will see in the coming weeks what the inaccurate pollsters think went wrong, but my guess is, they didn’t seek out or listen to rural America. So, based on connecting the dots between election result geography and inaccurate polling, here are some opportunities for cultural leaders:

  • Listen to the stories of rural America
  • Amplify the stories of rural America
  • Celebrate the rich culture of rural America, which, as one of my students pointed out in class, gives us country music, bluegrass, Zydeco, and more.
  • Employ culture makers in rural communities, from Navajo jewelry makers to Amish quilters, to West Virginian banjo players.
  • Empower rural and urban citizens to join together, to collaborate, and to build a future for America together.

What can cultural leaders do? Listen, amplify, celebrate, employ, and empower. Let’s get to work!

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A Creative Enterprise Strategy Model

I’m currently teaching a new course titled “Strategy: Opportunity Recognition in the Creative and Cultural Industries” as part of the Curb MA in Creative Enterprise and Cultural Leadership. My concept of strategy may be different than a business school conception of it, but the course draws on a variety of sources from business literature and elsewhere including organizational creativity, cognitive theories of entrepreneurship, and problem formulation. We also learn some basic research methods, from inventorying internal assets through conducting field observations and “noticing” (thanks to Andrew Taylor for bringing Verlyn Klinkenborg’s work on that topic to my attention).

Only now that I’m in the thick of it and we have touched on each of the individual topics in class, has the relationship between them all emerged:


I look forward to exploring this model for creative enterprise development further in the coming months.

If you’re interested in digging into the source material for the model, here is a short list of some resources:

Baron (2006). Opportunity recognition as pattern recognition: How entrepreneurs “Connect the Dots” to identify new business opportunities. Academy of Management Perspectives. [I referenced this article in an earlier post on networking]

Basadur and Basadur (2011). Where are the generators? Psyhcology of Aesthetics, Creativity, and the Arts, 5(1).

Gassman and Zeschky (2008). Opening up the solution space: The role of analogical thinking for breakthrough product innovation. Creativity and Innivation Management 17(2).

Klinkenborg, V. (2012). Some short sentences about writing. Ecotone 7(2).

Sarasvathy (2001). Causation and Effectuation: Toward a Theoretical Shift from Economic Inevitability to Entrepreneurial Contingency. The Academy of Management Review, 26, 2, pp. 243-263 [here’s a fun take on effectual thinking from an earlier post]

Ward, T.B. (2004). Cognition, creativity, and entrepreneurship. Journal of Business Venturing 19.

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What Does it all Mean?

barclays_universal_dictionary_containing_an_explanation_of_difficult_words_and_technical_terms_in_all_faculties_and_professions_also_a_pronouncing_dictionary_the_origin_of_each_word_an_epitome_of_Definitional problems still persist in the teaching and learning arts entrepreneurship. Each year, I ask students what “entrepreneurship” means to them and then, after a short lecture and reading material by Andrew Simonet, David Cutler, and Aaron Dworkin, ask: “What is entrepreneurship in the arts?” Here are some responses that “superbly embellish” existing definitions:

  • An entrepreneur is someone who is innovative, who is inventive and active. However, the artist has an entirely different duty–they are meant to express something about themselves or about the world they live in. The artist’s duty is to, in the words of Yukio Mishima, “reveal in order to conceal.” Artists have a duty of revealing something more about themselves or the world they live in, and expressing that through their work–this is the “sacred responsibility” to culture. As an arts entrepreneur, one has to combine the pragmatic, business side of entrepreneurship and the creative, free-thinking side of artistry…
  • art entrepreneurship is all about passion and drive. I think when you find something that your entire body and soul is passionate about and you make the moves to share that passion with the world, that is art entrepreneurship
  • Our job as art entrepreneurs is to be cultural innovators; we must find our audience and push it to new bounds
  • I believe the relationship between the words “arts” and “entrepreneur” is that of a square and rectangle; a square (arts) is always a rectangle (entrepreneur), but the opposite is not always true. In order to be a full time, successful artist, one must be an entrepreneur as well. I am of the opinion that what separates and arts entrepreneur from a typical entrepreneur is the sense of community. I believe the means and ends to be nearly identical in that both forms of entrepreneurship are designed to sustain themselves one way or another. The sense of community and the passion [to] innovate for a community is what sets arts entrepreneurship apart. So much so, that money may be a secondary end goal behind creating more art.
  • Arts entrepreneurship in this case would be using innovation, creativity, and the understanding of public needs or wants to utilize a way to make a new type of “leather” out of something other than animal skin
  • I’d say that an arts entrepreneur is someone who sees that art has a purpose and uses that to drive their creativity.
  • Being an “arts entrepreneur” is all about taking risks and pushing the boundaries of what makes a product(paintings, websites, graphics, etc) good, and what makes a product great.
  • But an Arts Entrepreneur means having to stay focused on your dreams so much that you are consistently improving your thoughts and ideas to make connections with the world with their needs and wants.
  • Being an “arts entrepreneur” for me means that I have to learn to fail a lot but eventually I will succeed.

Here’s a link to the operational definition I’ve been using.

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Voting, Rights

ballotI rushed home from the airport today knowing that my early ballot would be waiting in my mailbox. Then, I voted with tears in my eyes. The tears were tears of joy, because after participating in eight presidential elections (nine if you count the envelope-stuffing I did as an underage volunteer) I was able to cast my vote for a woman, a woman whom I have supported since the beginning of this cycle and who I sincerely believe will be an outstanding president, who will work across the aisle as she did while a US senator and as she has done in securing the support of Democrats and Republicans alike in this unprecedented election cycle. But I was also crying tears of sadness, sadness that our election process has been turned into a reality TV show, not just by the appalling Republican candidate but by the media he pretends to decry. I was also crying tears of fear, for as I drive home from the airport, I heard news reports of the firebombing of a Republican party office in North Carolina.

Democracy is fragile. It rests, like a house of cards (pun intended) on the trust that the people have in the electoral process. A startling story in the Boston Globe on October 15 described the sentiments – and violent intentions – of several followers of the Republican candidate. The candidate himself is suggesting that if he loses it could only because the election process is somehow “rigged” against him. His ego looms so large that it will not let him believe that he can legitimacy lose, but he can and he will. How will the next president govern if 40% of the electorate doesn’t believe in the legitimacy of the process that elected her? I cried because I fear that for the first time in our history, there will not be a peaceful transfer of power; the NC incident being just a first small warning shot.

What does this have to with the arts? Our democratic system relies on certain unalienable rights, not only those called out in original draft of the Constitution, but those in its First Amendment: freedom of speech; freedom of (and from) religion; freedom of assembly; freedom (and independence) of the press; and freedom to petition the government. These freedoms, taken together, are the most important arts policy of all. But they are under threat by the Republican candidate, his followers, and even the Republican Party itself. The attacks on the media are unprecedented. These attacks range from journalists from certain media outlets being forbidden entrance to events to death threats on the publisher of the Arizona Republic after it endorsed a Democrat for the first time in its history. Freedom of religion is threatened by a candidate who wants to ban Muslims entry and his followers who want to set up surveillance in Muslim neighborhoods. A candidate who threatens retribution in the form of lawsuits and/or imprisonment when people speak out against him will threaten our freedom of speech as president, a freedom foundational to the expression of ideas, both artistic and not. And, I fear for our freedom to assemble when people threaten violent crowd action. In order to prevent violence will peaceful assembly be restricted?

When Hillary Clinton is elected on November 8, I will cry tears of joy. When I awake on November 9, I hope there will be no reason to cry tears of fear.

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I’m presenting a paper next week at the European Network of Cultural Management Conference (ENCATC) entitled “Same or Different? The ‘Cultural Entrepreneurship’ and ‘Arts Entrepreneurship’ Constructs in European and US Higher Education.” Here’s a teaser:


“Arts Entrepreneurship” is beginning to emerge from its infancy as a field of study in US higher education institutions. “Cultural Entrepreneurship,” especially as conceived of in the European context, seems to have matured both earlier and on a somewhat different, but parallel, track. As Kuhlke, Schramme, and Kooyman (2015) note, “In Europe, courses began to emerge in the late 1980s and early 1990s…primarily providing an established business school education with an industry-specific focus on the new and emerging creative economy.” Conversely, the development of “arts entrepreneurship” courses and programs in the US seem to have been driven as much or more from interest within arts disciplines or even from within the career services units of arts conservatories as a means toward supporting artist self-sufficiency and career self-management. This paper looks at the conceptual development of “arts entrepreneurship” in the US as differentiated from “cultural entrepreneurship” in Europe and elsewhere in order to uncover where the two strands of education (and research) are the same and where they are different.

(photo: Antranias, public domain)


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