Why the live arts matter
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0:00 - 0:02I am a cultural omnivore,
-
0:02 - 0:07one whose daily commute is made possible
by attachment to an iPod -- -
0:07 - 0:09an iPod that contains Wagner and Mozart,
-
0:09 - 0:11pop diva Christina Aguilera,
-
0:11 - 0:13country singer Josh Turner,
-
0:13 - 0:15gangsta rap artist Kirk Franklin,
-
0:15 - 0:18concerti, symphonies and more and more.
-
0:18 - 0:19I'm a voracious reader,
-
0:19 - 0:22a reader who deals with Ian McEwan
down to Stephanie Meyer. -
0:22 - 0:25I have read the Twilight tetralogy.
-
0:25 - 0:28And one who lives for my home theater,
-
0:28 - 0:31a home theater where I devour
DVDs, video on demand -
0:31 - 0:32and a lot of television.
-
0:32 - 0:36For me, "Law & Order: SVU,"
Tina Fey and "30 Rock" -
0:36 - 0:37and "Judge Judy" --
-
0:37 - 0:41"The people are real, the cases are real,
the rulings are final." -
0:41 - 0:42(Laughter)
-
0:42 - 0:45Now, I'm convinced a lot of you
probably share my passions, -
0:45 - 0:47especially my passion for "Judge Judy,"
-
0:47 - 0:51and you'd fight anybody
who attempted to take her away from us, -
0:51 - 0:55but I'm a little less convinced that you
share the central passion of my life, -
0:55 - 0:57a passion for the live
professional performing arts, -
0:57 - 1:00performing arts that represent
the orchestral repertoire, yes, -
1:00 - 1:03but jazz as well, modern dance, opera,
-
1:03 - 1:05theater and more and more and more.
-
1:06 - 1:09Frankly, it's a sector that many of us
who work in the field -
1:09 - 1:13worry is being endangered
and possibly dismantled by technology. -
1:13 - 1:17While we initially heralded the Internet
as the fantastic new marketing device -
1:17 - 1:19that was going to solve all our problems,
-
1:19 - 1:22we now realize that the Internet
is, if anything, -
1:22 - 1:23too effective in that regard.
-
1:23 - 1:26Depending on who you read,
an arts organization -
1:26 - 1:28or an artist, who tries
to attract the attention -
1:28 - 1:31of a potential single ticket buyer,
-
1:31 - 1:36now competes with between three and 5,000
different marketing messages -
1:36 - 1:38a typical citizen sees every single day.
-
1:39 - 1:41We now know, in fact,
-
1:41 - 1:44that technology is our biggest
competitor for leisure time. -
1:44 - 1:45Five years ago,
-
1:45 - 1:50Gen Xers spent 20.7 hours online and TV,
the majority on TV. -
1:50 - 1:52Gen Yers spent even more --
-
1:52 - 1:5423.8 hours, the majority online.
-
1:55 - 2:00And now, a typical university-entering
student arrives at college -
2:00 - 2:05already having spent 20,000 hours online
-
2:05 - 2:08and an additional 10,000 hours
playing video games -- -
2:08 - 2:12a stark reminder that we operate
in a cultural context -
2:12 - 2:16where video games now outsell
music and movie recordings combined. -
2:18 - 2:21Moreover, we're afraid that technology
-
2:21 - 2:24has altered our very assumptions
of cultural consumption. -
2:24 - 2:25Thanks to the Internet,
-
2:25 - 2:28we believe we can get anything
we want whenever we want it, -
2:28 - 2:30delivered to our own doorstep.
-
2:30 - 2:32We can shop at three in the morning
or eight at night, -
2:32 - 2:35ordering jeans tailor-made
for our unique body types. -
2:35 - 2:39Expectations of personalization
and customization -
2:39 - 2:41that the live performing arts --
-
2:41 - 2:44which have set curtain times, set venues,
-
2:44 - 2:47attendant inconveniences
of travel, parking and the like -- -
2:47 - 2:49simply cannot meet.
-
2:50 - 2:51And we're all acutely aware:
-
2:51 - 2:53what's it going to mean in the future
-
2:53 - 2:55when we ask someone
to pay a hundred dollars -
2:55 - 2:58for a symphony, opera or ballet ticket,
-
2:58 - 3:01when that cultural consumer
is used to downloading on the internet -
3:01 - 3:0524 hours a day
for 99 cents a song or for free? -
3:07 - 3:11These are enormous questions
for those of us that work in this terrain. -
3:11 - 3:15But as particular as they feel to us,
we know we're not alone. -
3:15 - 3:17All of us are engaged
-
3:17 - 3:21in a seismic, fundamental realignment
of culture and communications, -
3:21 - 3:25a realignment that is shaking
and decimating the newspaper industry, -
3:25 - 3:29the magazine industry,
the book and publishing industry and more. -
3:30 - 3:34Saddled in the performing arts as we are,
by antiquated union agreements -
3:34 - 3:39that inhibit and often prohibit
mechanical reproduction and streaming, -
3:39 - 3:42locked into large facilities
that were designed to ossify -
3:42 - 3:46the ideal relationship
between artist and audience -
3:46 - 3:48most appropriate to the 19th century
-
3:48 - 3:51and locked into a business model
dependent on high ticket revenues, -
3:51 - 3:53where we charge exorbitant prices.
-
3:54 - 3:57Many of us shudder in the wake
of the collapse of Tower Records -
3:57 - 4:00and ask ourselves, "Are we next?"
-
4:01 - 4:06Everyone I talk to in performing arts
resonates to the words of Adrienne Rich, -
4:06 - 4:08who, in "Dreams of a Common
Language," wrote, -
4:08 - 4:11"We are out in a country
that has no language, no laws. -
4:12 - 4:14Whatever we do together is pure invention.
-
4:14 - 4:18The maps they gave us
are out of date by years." -
4:20 - 4:22And for those of you who love the arts,
-
4:22 - 4:25aren't you glad you invited
me here to brighten your day? -
4:25 - 4:27(Laughter)
-
4:27 - 4:28(Applause)
-
4:28 - 4:32Now, rather than saying that we're
on the brink of our own annihilation, -
4:32 - 4:36I prefer to believe that we are engaged
in a fundamental reformation, -
4:36 - 4:39a reformation like the religious
Reformation of the 16th century. -
4:40 - 4:43The arts reformation,
like the religious Reformation, -
4:43 - 4:45is spurred in part by technology,
-
4:45 - 4:47with indeed, the printing press
really leading the charge -
4:47 - 4:49on the religious Reformation.
-
4:49 - 4:52Both reformations were predicated
on fractious discussion, -
4:52 - 4:54internal self-doubt
-
4:54 - 4:57and massive realignment
of antiquated business models. -
4:58 - 5:01And at heart, both reformations, I think,
were asking the questions: -
5:01 - 5:03who's entitled to practice?
-
5:03 - 5:05How are they entitled to practice?
-
5:05 - 5:09And indeed, do we need anyone
to intermediate for us -
5:09 - 5:12in order to have an experience
with a spiritual divine? -
5:14 - 5:17Chris Anderson,
someone I trust you all know, -
5:17 - 5:20editor in chief of Wired magazine
and author of The Long Tail, -
5:20 - 5:23really was the first, for me,
to nail a lot of this. -
5:23 - 5:24He wrote a long time ago, you know,
-
5:24 - 5:30thanks to the invention of the Internet,
web technology, minicams and more, -
5:30 - 5:33the means of artistic production
have been democratized -
5:33 - 5:36for the first time
in all of human history. -
5:37 - 5:40In the 1930s, if any of you wanted
to make a movie, -
5:40 - 5:42you had to work for
Warner Brothers or RKO, -
5:42 - 5:44because who could afford a movie set
-
5:44 - 5:46and lighting equipment
and editing equipment -
5:46 - 5:48and scoring, and more?
-
5:48 - 5:51And now who in this room
doesn't know a 14 year-old -
5:51 - 5:54hard at work on her second,
third, or fourth movie? -
5:54 - 5:55(Laughter)
-
5:56 - 5:59Similarly, the means
of artistic distribution -
5:59 - 6:01have been democratized
for the first time in human history. -
6:01 - 6:04Again, in the '30s, Warner Brothers,
RKO did that for you. -
6:04 - 6:06Now, go to YouTube, Facebook;
-
6:06 - 6:08you have worldwide distribution
-
6:08 - 6:11without leaving the privacy
of your own bedroom. -
6:12 - 6:14This double impact is occasioning
-
6:14 - 6:17a massive redefinition
of the cultural market, -
6:17 - 6:20a time when anyone is a potential author.
-
6:21 - 6:24Frankly, what we're seeing now
in this environment -
6:24 - 6:27is a massive time,
when the entire world is changing -
6:27 - 6:30as we move from a time
when audience numbers are plummeting. -
6:30 - 6:32But the number of arts participants,
-
6:32 - 6:36people who write poetry, who sing songs,
who perform in church choirs, -
6:36 - 6:39is exploding beyond
our wildest imaginations. -
6:40 - 6:43This group, others have
called the pro-ams, -
6:43 - 6:46amateur artists doing work
at a professional level. -
6:46 - 6:48You see them on YouTube,
in dance competitions, -
6:48 - 6:50film festivals and more.
-
6:50 - 6:52They are radically expanding
-
6:52 - 6:55our notions of the potential
of an aesthetic vocabulary, -
6:55 - 6:57while they are challenging and undermining
-
6:57 - 7:00the cultural autonomy
of our traditional institutions. -
7:00 - 7:04Ultimately, we now live in a world
defined not by consumption, -
7:04 - 7:06but by participation.
-
7:07 - 7:09But I want to be clear,
-
7:09 - 7:12just as the religious Reformation
did not spell the end -
7:12 - 7:14to the formal Church or to the priesthood;
-
7:14 - 7:18I believe that our artistic institutions
will continue to have importance. -
7:18 - 7:20They currently are the best opportunities
-
7:20 - 7:23for artists to have lives
of economic dignity -- -
7:23 - 7:25not opulence, of dignity.
-
7:25 - 7:27And they are the places where artists
-
7:27 - 7:29who deserve and want to work
at a certain scale of resources -
7:29 - 7:31will find a home.
-
7:32 - 7:36But to view them as synonymous
with the entirety of the arts community -
7:36 - 7:38is, by far, too shortsighted.
-
7:38 - 7:42And indeed, while we've tended to polarize
the amateur from the professional, -
7:42 - 7:46the single most exciting development
in the last five to 10 years -
7:46 - 7:50has been the rise
of the professional hybrid artist, -
7:50 - 7:52the professional artist who works,
-
7:52 - 7:55not primarily in the concert hall
or on the stage; -
7:55 - 7:58but most frequently around
women's rights, or human rights, -
7:58 - 8:01or on global warming issues
or AIDS relief for more -- -
8:01 - 8:03not out of economic necessity,
-
8:03 - 8:06but out of a deep, organic conviction
-
8:06 - 8:08that the work that she or he
is called to do -
8:08 - 8:12cannot be accomplished in the traditional
hermetic arts environment. -
8:13 - 8:15Today's dance world is not defined solely
-
8:15 - 8:18by the Royal Winnipeg Ballet
or the National Ballet of Canada, -
8:18 - 8:21but by Liz Lerman's Dance Exchange --
-
8:21 - 8:24a multi-generational,
professional dance company, -
8:24 - 8:28whose dancers range in age from 18 to 82,
-
8:28 - 8:31and who work with genomic scientists
to embody the DNA strand -
8:31 - 8:33and with nuclear physicists at CERN.
-
8:34 - 8:36Today's professional theater community
-
8:36 - 8:40is defined, not only the Shaw
and Stratford Festivals, -
8:40 - 8:42but by the Cornerstone Theater
of Los Angeles -- -
8:42 - 8:45a collective of artists that after 9/11,
-
8:45 - 8:48brought together 10 different
religious communities -- -
8:49 - 8:50the Baha'i, the Catholic,
-
8:50 - 8:52the Muslim, the Jewish,
-
8:52 - 8:54even the Native American
-
8:54 - 8:56and the gay and lesbian
communities of faith, -
8:56 - 8:59helping them create
their own individual plays -
8:59 - 9:01and one massive play,
-
9:01 - 9:04where they explored
the differences in their faith -
9:04 - 9:05and found commonality
-
9:05 - 9:08as an important first step
toward cross-community healing. -
9:10 - 9:13Today's performers, like Rhodessa Jones,
work in women's prisons, -
9:13 - 9:17helping women prisoners
articulate the pain of incarceration, -
9:17 - 9:20while today's playwrights
and directors work with youth gangs -
9:20 - 9:24to find alternate channels to violence
and more and more and more. -
9:25 - 9:28And indeed, I think,
rather than being annihilated, -
9:28 - 9:30the performing arts
are poised on the brink of a time -
9:31 - 9:33when we will be more important
than we have ever been. -
9:34 - 9:36You know, we've said for a long time,
-
9:36 - 9:40we are critical to the health
of the economic communities in your town. -
9:40 - 9:41And absolutely --
-
9:41 - 9:45I hope you know that every dollar spent
on a performing arts ticket in a community -
9:45 - 9:48generates five to seven
additional dollars for the local economy, -
9:48 - 9:50dollars spent in restaurants
or on parking, -
9:50 - 9:52at the fabric stores
where we buy fabric for costumes, -
9:52 - 9:55the piano tuner who tunes
the instruments, and more. -
9:56 - 10:00But the arts are going to be more
important to economies as we go forward, -
10:00 - 10:02especially in industries
we can't even imagine yet, -
10:02 - 10:06just as they have been central to the iPod
and the computer game industries, -
10:06 - 10:10which few, if any of us,
could have foreseen 10 to 15 years ago. -
10:11 - 10:15Business leadership will depend
more and more on emotional intelligence, -
10:15 - 10:17the ability to listen deeply,
-
10:17 - 10:19to have empathy,
-
10:19 - 10:21to articulate change,
to motivate others -- -
10:21 - 10:25the very capacities that the arts
cultivate with every encounter. -
10:26 - 10:28Especially now,
-
10:29 - 10:33as we all must confront
the fallacy of a market-only orientation, -
10:33 - 10:35uninformed by social conscience;
-
10:35 - 10:38we must seize and celebrate
the power of the arts -
10:38 - 10:41to shape our individual
and national characters, -
10:41 - 10:44and especially characters
of the young people, -
10:44 - 10:47who all too often are subjected
to bombardment of sensation, -
10:47 - 10:49rather than digested experience.
-
10:50 - 10:53Ultimately, especially now in this world,
-
10:53 - 10:58where we live in a context of regressive
and onerous immigration laws, -
10:58 - 11:01in reality TV that thrives on humiliation,
-
11:01 - 11:03and in a context of analysis,
-
11:03 - 11:08where the thing we hear most repeatedly,
day in, day out in the United States, -
11:08 - 11:11in every train station, every bus station,
every plane station is, -
11:11 - 11:12"Ladies and gentlemen,
-
11:12 - 11:16please report any suspicious behavior
or suspicious individuals -
11:16 - 11:18to the authorities nearest to you,"
-
11:18 - 11:20when all of these ways we are encouraged
-
11:20 - 11:23to view our fellow human being
with hostility and fear -
11:23 - 11:25and contempt and suspicion.
-
11:26 - 11:29The arts, whatever they do,
whenever they call us together, -
11:29 - 11:33invite us to look at our fellow
human being with generosity and curiosity. -
11:35 - 11:39God knows, if we ever needed
that capacity in human history, -
11:39 - 11:41we need it now.
-
11:45 - 11:47You know, we're bound together,
-
11:47 - 11:50not, I think by technology,
entertainment and design, -
11:50 - 11:52but by common cause.
-
11:53 - 11:56We work to promote
healthy vibrant societies, -
11:56 - 11:58to ameliorate human suffering,
-
11:58 - 12:03to promote a more thoughtful,
substantive, empathic world order. -
12:05 - 12:07I salute all of you
as activists in that quest -
12:07 - 12:11and urge you to embrace
and hold dear the arts in your work, -
12:11 - 12:12whatever your purpose may be.
-
12:13 - 12:16I promise you the hand
of the Doris Duke Charitable Foundation -
12:16 - 12:19is stretched out in friendship
for now and years to come. -
12:19 - 12:21And I thank you for your kindness
and your patience -
12:21 - 12:23in listening to me this afternoon.
-
12:23 - 12:24Thank you, and Godspeed.
- Title:
- Why the live arts matter
- Speaker:
- Ben Cameron
- Description:
-
Arts administrator and live-theater fan Ben Cameron looks at the state of the live arts -- asking: How can the magic of live theater, live music, live dance compete with the always-on Internet? At TEDxYYC, he offers a bold look forward.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 12:24
Krystian Aparta commented on English subtitles for Why the live arts matter | ||
Krystian Aparta edited English subtitles for Why the live arts matter | ||
Krystian Aparta edited English subtitles for Why the live arts matter | ||
Brian Greene edited English subtitles for Why the live arts matter | ||
TED edited English subtitles for Why the live arts matter | ||
TED added a translation |
Krystian Aparta
The English transcript was updated on 12/5/2016.