Our Manifestos: An Introduction

As budding arts managers, we must learn not only the business practices of an infinitely complicated not-for-profit sector - we must also consider and develop our own artistic principles. By taking the time to think about what “Art” really means to us, we were able to define our personal values – which will hopefully help us to make smarter, more well-informed programming choices in the future!

Taken as a whole, our Manifestos represent the view of a new generation of arts professionals:

We are audience-centric – we believe that the impact that our work has on the audience and the individual experiences that each audience member brings into viewing our work are of the utmost importance.  We do not disregard artistic quality - on the contrary, we hold the art to even higher standards. We want it to serve as a catalyst for emotion, a moral compass, and a binding force for communities.

Follow the links below to take a deeper look at our answers to the question: "What is Art?"

Kelsey Small believes that Art exists when it is used as a social and moralizing force for audiences responding to the work. Art connects audiences to new meaning and encourages them to shatter preconceived notions in exchange for innovative insight and reflection.

Rachael Wilkinson thinks that the idea that art has a higher Truth denies the life experiences and emotional contexts an audience brings to a work. She says Art is not meant to exist in a vacuum and that the audience must be taken into account if discussing this idea of Truth.

Eric Gerdts explores the ephemeral nature of live arts performances – does viewing a live performance diminish the impact on the viewer?

Jesse Montgomery argues that after a period of disjointed experimentation, composers are once again making full use of the orchestra.  The orchestra and the classical vocabulary still have more to say and explore, and are still one of the best instruments for conveying the full range of sounds and emotion.  

Rebecca Fink believes that while the performing arts do not necessarily require audiences to be considered works of art, they are heavily dependent on the viewer in almost every other way.  Regardless of the type of performing arts, audience has an impact on the creation of the work, the life span of that work, and the potential death of that work.

Michelle Cheng muses on the definition of music - it is a dynamic one, shaped by each individual listener's past experiences and exposure to sound. She argues that regardless of what one considers "music," true live performance is the most authentic manifestation of the form, due to the element of spontaneous creation, as well as the fact that process and product are occurring simultaneously.

Jessie Bower says that Art is the representation of knowledge within a deliberate context wherein the intention is for the result or action to be received as art. Art is recognized by the vocabulary that is used to create it. 

Audrey Kwong explores how music over the centuries has always been described as melody, harmony, and rhythm, and has evolved with the trends of the time. However, in order to continue to find it's place amongst the growing number of entertainment options, music, and specifically symphonic and chamber music is going to need to put a larger emphasis on community relevance.

Marissa Cinquanti asks whether art is still art when it is viewed on a screen from the comfort of a movie theater or the audience's own home.