You are invited to join your IAVM leadership on Monday, July 26th, at 5:00 PM ET for the virtual 2021 Annual Business Meeting!

The business of IAVM and your world of venue management changes with lightning speed. Keeping up is hard to do, which is just one of the reasons we invite your attendance for the online business meeting of IAVM, YOUR Association. The webinar is your opportunity to interactively participate and express your comments, questions, and ideas. It is your opportunity to be up to speed on all things IAVM.

The online meeting also frees up valuable time at VenueConnect for you to attend more education sessions or simply to have that important networking time.

Plan now to join your colleagues via this informative webinar and of course we look forward to your joining us at VenueConnect 2021 in Atlanta!

By R.V. Baugus

Heard the saying before from someone who says “this makes me uncomfortable?” Well … good.

Being uncomfortable is not necessarily a bad thing, and that will be brought to light in an interactive workshop at VenueConnect led by Jill Schinberg, MFA, Assistant Professor, Arts Administration, University of Kentucky, on the topic of Getting Comfortable with Being Uncomfortable, hosted by the IAVM Diversity and Inclusive Leadership Committee.

If we can admit that none of us happens to be perfect, we are off to a good start. That means none of us. Having discussions today about topics that make us uncomfortable should actually make us feel better if done in constructive fashion.

How do we have those conversations and how do we get there? You need to be at the session, friend!

According to the course description: You are a well-meaning venue professional. You know that unconscious bias training and diversity committees are not enough. You are trying to be conscientious about talking the talk and walking the walk. YES! But, what if you: 1) say or do the “wrong” thing, 2) get “cancelled,” 3) or are perceived as a “Karen (or Ken)?” If any of these fears resonate with you, a co-worker, someone you report to, or your staff –Getting Comfortable with Being Uncomfortable is for you.

It has been an honor to know Jill through the years through the DILC as she has served on the committee of which I am staff liaison. Before her session, and she makes clear that technically she is the only “speaker” but that this will be interactive, we caught up with her for some worthy comments.

First things first: Why is this an important session that people should attend?

It’s important to get comfortable being uncomfortable because we’re human and we are going to make mistakes and as with anything else, we need practice picking ourselves up and trying again. Further, research shows that attending the required diversity training or unconscious bias training at your workplace isn’t enough. This session, based on the work of the DILC, gives us an opportunity to slow down and grapple with our collective and individual discomfort around the constant navigation of identity and its implications on power, access, and privilege.

Now … who should attend? This is a great–and also tricky question. It depends on who you are and where you see yourself on the spectrum of power, access, and privilege. If you know me, you already know that you will be asked to actively engage with the session content and probably with each other. If reading this is your first interaction with me — or especially if it will be your first VenueConnect — I hope that you will consider joining us to check it out. Either way, it’s likely to provoke some deep thinking and rich conversation among peers. Regardless of who you are and why you decide to attend, it’s a great opportunity to try some stuff out with your industry friends and colleagues in a low-risk environment.

How about a little of your background in the area in which you will be presenting?

In 2016 I made an epic career transition from venue manager to university professor. In addition to teaching (which I love), I research nonprofit arts management consulting, programming as an artistic practice, and workplace gender equity in arts and entertainment venues. In particular, my work pertaining to equity extends across intersecting categories including gender, race, ability, age, and then some. Since 2017, I have organized interactive sessions at VenueConnect including The Gender Gap, The Gender Gap Continued, and Exploring Privilege (in collaboration with Jennifer Norris, CVE). I have presented my research in the U.S. and internationally including a recent publication based on the results of the IAVM 2017 Diversity Survey.

On a more personal note, I am very aware of how, when, and where I do and don’t belong. And when I forget, someone will always remind me. Take, for example, the male stagehand who comments on my appearance when I’m the only woman onsite working at an outdoor venue for the first part of a show day. I recognize that his comment may well be intended as a compliment — but, is he also commenting on the appearance of his male colleagues? I am socialized to accept the discomfort that I sometimes feel in a situation like this one. That sense of discomfort signals that I don’t belong — despite the intent. (If as you read this you are thinking to yourself, “I don’t get it.”, ask me to explain in greater depth in Atlanta.) My experiences compel me to try to better understand my friends and colleagues who are different from me due to race, gender identity, ability, and so on when I can, and empathize when I can’t.

Is it better to say or do the “wrong” thing than nothing at all? In other words, can it be a teaching/learning/educating tool?

It depends. Can you handle the outcome either way? I believe that we are all experts of our own bodies and lived experiences. So ask yourself: “If I say the wrong thing to someone I care about, it turns out to be the wrong thing, and they let me know. . . can I take it?” If the answer is yes, simply let people around you know that you’re open to feedback and do your best. When you stumble (and you will), the feedback will help you with future interactions. But, keep in mind that everyone is different, which means one size doesn’t always fit all.

We hear a lot these days about unconscious bias. How would you describe and define it?

I would actually quote Mahzarin Banaji and Anthony Greenwald, the psychologists who coined the term “implicit bias” back in 1995, to provide an answer. Hidden or unconscious biases are:

“. . . bits of knowledge about social groups . . . stored in our brains because we encounter them so frequently in our cultural environments. Once lodged in our minds, hidden biases can influence our behavior toward members of particular social groups, but we remain oblivious to their influence (Banaji and Greenwald 2016, xii).”

How about a major takeaway or two that you would like your audience to go back home with?

I would like for anyone who decides to attend to be clear that they are not my audience at all, but the actors. Getting comfortable with being uncomfortable requires a willingness to get a little vulnerable, take a little risk, and to pick yourself up and give it another go when it doesn’t go quite as you had hoped. Progress is not a one and done kind of learning experience; it’s ongoing and takes commitment.

My hope is that when you go home, you can say to your friends and colleagues who are different from you:

I see you. And for the times when I don’t. . . tell me. I can take it.

And mean it.

By Diane Johnson

More definitive guidelines on social gatherings are enabling U.S. arts and culture leaders’ comeback plans, with 55% of U.S. performing arts organizations planning live, in-person performances before October 2021, according to a new study released by international arts management consultants TRG Arts. The study, “Arts and Culture Comeback Planning: June 2021,” also reveals two-thirds of U.S. programming will be the same mix of traditional and contemporary works as before the pandemic, while an additional 14% will have a heavier emphasis on traditional or known works, which may indicate the desire for a semblance of “normalcy.” This is the fifth in a series of studies on the plans of arts and culture organizations since the COVID-19 pandemic began.

Among the study highlights compiled from a survey of organizations in the United States, Canada and the United Kingdom:
• 2021 in-person performance – 94% of U.S. organizations plan to host live in-person performances by year end 2021.

• Programming – The minimal level of investment in new works at U.S. venues indicates that most organizations are not changing their approach post-pandemic, even with financial support such as Shuttered Venues Operator Grants and PPP loans.

• Ticket sales and demand – As of June 2021, 52% of U.S. organizations have not yet put multi-performance subscriptions on sale. Where subscriptions are on sale, demand is largely the same as pre-COVID. Where single event tickets are on sale, demand compared to pre-pandemic sales volume is weak.

• Openings by region – By region, more than half of U.S. organizations plan in-person performances by the end of Q3, except for the South (40%).

• Openings by genre – After an overall slow return to in-person performances across genres except opera in Q2 2021, organizations’ plans to return improve in Q3. Presenter (74%), multi-disciplinary (59%), and theatre (48%) show the greatest optimism.

• Safety – COVID safety protocols will vary widely based on country and region. 13% of U.S. organizations expect the audience experience to remain unchanged from pre-pandemic, not requiring or requesting masking or other safety measures.

• Pricing – 71% of arts and culture leaders in all three nations have committed to keeping pre-pandemic ticket prices the same for their COVID comeback season. Of those who are anticipating a price increase, a majority are increasing prices by 10% or less. 13% of organizations are lowering prices compared to pre-pandemic, and 4% are offering “Pay What You Wish” for the coming 2021-22 season.

“The June Comeback Study finally brings news that we’ve all been eager to hear after more than a year of COVID ravaging our sector,” said TRG Chief Executive Officer Jill S. Robinson. “The challenge for performing arts organization leaders is to create experiences that their audiences will find exciting and new, yet at the time somewhat familiar to reinforce the sense that we’re back to ‘normal.’ As always, they must listen to their customers deeply and be prepared to take action.”

Survey responses were collected from 226 organizations across all disciplines of performing arts in the U.S. (163), Canada (15), and the U.K. (48).

The full study of “Arts and Culture Comeback Planning: June 2021” is available at https://go.trgarts.com/ComebackStudyJune2021.

By ISSA and R.V. Baugus

United Center in Chicago, the largest arena in the United States, has reached another milestone with its GBAC STAR™ Facility Accreditation from the Global Biorisk Advisory Council™, (GBAC), a Division of ISSA. Additional facilities to earn the accreditation for cleaning, disinfection, and infection prevention include Boston Symphony Hall in Boston; Atlanta Convention Center at AmericasMart in Atlanta; and more.

“From stadiums to hotels to convention centers to malls, there are many facilities around the world that are implementing cleaning for health best practices that maximize health and safety, efficiency, and resources,” said GBAC Executive Director Patricia Olinger. “Now when people visit new or favorite facilities, they can be confident that their wellbeing is a top priority.”

The United Center, home of the Chicago Bulls and Chicago Blackhawks, hosts more than 200 events each year and has welcomed over sixty million guests since its opening in 1994. Meanwhile, Boston Symphony Hall is a historic concert hall that was built in 1900 and is home to the Boston Symphony Orchestra. Featuring an organ that is more than 70 years old, replicas of Greek and Roman statues, and stunning architecture, the building is considered one of the top concert halls in the world.

The latest facilities to achieve GBAC STAR accreditation include:

Convention Centers

Albany Capital Center in Albany, New York
Atlanta Convention Center at AmericasMart in Atlanta
Regina Exhibition Association Limited in Regina, Saskatchewan

Museums or Cultural Venues

Northwest Washington Fair in Lynden, Wash.
Port Discovery Children’s Museum in Baltimore

Stadiums or Arenas

Rogers Place in Edmonton, Alberta, home to the NHL’s Edmonton Oilers
United Center in Chicago, home to the NHL’s Chicago Blackhawks and the NBA’s Chicago Bulls

Theatre or Performing Arts Center

Boston Symphony Hall in Boston

“We are thrilled that so many facilities are taking advantage of the GBAC STAR accreditation program and making their environments safer for guests and employees,” said ISSA Executive Director John Barrett. “Cleanliness will continue to be an important consideration for people when choosing where to visit, and organizations that have a clear and organized approach set themselves up for success.”

Learn more and apply for GBAC STAR Facility Accreditation at gbac.org/star.

Find accredited facilities and those pursuing accreditation via the GBAC STAR Facility Directory at gbac.org/directory.

IAVM members seeking to apply for accreditation through GBAC, please use the link https://gbac.issa.com/iavm/!

By Diana Polk

With the Tokyo 2020 Summer Olympics approaching but no foreign spectators allowed due to the COVID-19 pandemic, the personal-finance website WalletHub released its Tokyo Olympics By The Numbers report and expert commentary to help fans both get fired up for the athletic action and better understand the unique issues surrounding this Olympiad.

This report includes an infographic filled with fun facts and stats about the Tokyo Games as well as a Q&A with a panel of leading experts on the socioeconomics of the extravaganza. You can find a few highlights below.

Tokyo 2020 Stats
$26B+ – Estimated cost of hosting the 2020 Tokyo Olympics.

$900 Million – Amount to be spent for Tokyo 2020 on coronavirus countermeasures.

$15B – Estimated economic loss for Japan from barring overseas spectators and limiting the number of domestic fans to 50% of the capacity.

80% – Share of people in Japan who want the Tokyo Olympics canceled or postponed again as the coronavirus pandemic rolls on.

44K – Number of security personnel who will work the Tokyo Games – roughly half the number of the 2016 Rio Olympics.

1st – Games to ever use artificial intelligence managed security features, with the ability to correctly verify the faces of 230 million people in one second.

15 Years – Age of the youngest member of Team USA, swimmer Katie Grimes.

For the full report click here.

Expert Commentary

Given its current vaccination count, is Tokyo safe and ready for the Olympics?

“Well, safe and ready are two different things. From a sports perspective, Tokyo is more than ready: the venues are beautiful, logistics figured out. From a public health standpoint, we do not know, do we? Their vaccination rate has been slow, but from day one they have had an excellent grasp on the virus, keeping infection and death rates low. The IOC is claiming that over 80% of the athletes will be vaccinated when they land but the world has not thrown a party like this since the virus, so it is all a big experiment.”
Amy Bass, Ph.D. – Professor, Manhattanville College

“After a slow start, the nation is now vaccinating one million citizens each day. Even then, it is unlikely to reach most of the targets necessary to label the event safe. They are attempting some forms of ‘bubble’ scenarios (athletes will not use public transportation, etc.) but, as we have seen within American sports, a ‘bubble’ only seems to work if tightly regulated, such as with the NBA bubble in 2020.”
Andrew Billings – Professor, University of Alabama

What will be the impact of the Olympics on Tokyo’s economy?

“Some leading Japanese economists are already predicting that should the Olympics take place they will negatively affect Japan’s economy: the tourism bump will not happen and the ‘Japan brand’ will not look good, not to mention that the health care system in Japan is already at max capacity before any of this is even scheduled to take place.”
Alexis Dudden, Ph.D. – Professor, University of Connecticut

“The cost of this Olympic Games to the Tokyo and Japanese economies has been immense, with most estimates putting the cost at $15.4 billion. The direct impact of the Games actually being held will help mitigate some of that, but not nearly what the benefits could have been. There will be broadcast, sponsorship, ticket, merchandise, and concession revenue, but the ticket, merchandise, and concession revenues will be fractions of what they could have been given the limited capacity numbers and restriction on international spectators. Additionally, and probably more important to the overall economy, the loss of all of the travelers paying for hotels, restaurants, and taxis, shopping, visiting museums and other attractions, and generally doing what tourists do will be significant.”
Charles Campisi, Ph.D. – Associate Professor, Baldwin Wallace University

Diana Polk is Communications Manager for WalletHub.