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Peer Sessions: Craft
Schools and University Centers
Moderators: David Willard
Steve Loar
June 2, 2006
Topic:
the divide between generations: Baby Boomers and
Generation X
There is a difference in generations and cultural ways
in thinking about and using craft.
Youth
may be less interested in craft or have less
discipline. They are influenced by free market society,
computers, World Wide Web, technology and advertising.
Baby
Boomers “work to live” and Generation X “lives to
work.” They seek to be engaged in their work.
Questions posed by the group:
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How
many craft organizations are closing?
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How
do universities and craft organizations adapt to,
anticipate and adjust to change?
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How
do we balance future needs of students with while
minimizing financial risk?
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Should we offer more popular, newer classes or is
this abandoning tradition?
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Who
are the new audiences and what do they value?
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How
do we measure success?
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How
are our organizations represented in the culture? In
the community?
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How
do we make furniture or other craft programs
students’ first choice?
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Are
these students interested in craft professions or a
crafty lifestyle?
Institutional change is very difficult, but inevitable.
It is
hard to be all things to all people. Define your
institution and you will focus your audience. Make your
brand so bright that it is a beacon to like
minded-people.
Generational differences are trumped by similar
interests. People connect to the craft tribe all over
the world, especially now with the internet.
June 3,
2006
Theme: Survival -- How do we adapt to change and move
toward prosperity?
To run
a craft school is to run a business. How to create a
financially viable school but also stay true to the
institutions’ spirit, core and mission? How do we risk
and experiment but still bring in funding to survive?
An
institution can move toward prosperity with successful
long-range planning, branding and marketing.
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Project a high standard; show students work that is
way beyond what your average incoming student would
be doing.
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Define what you want to aspire to, and look to other
successful organizations for models. Research how
they maintain standards and thrive.
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Arrowmont has used the data on what courses are
successful to coordinate marketing and programming
together.
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Arrowmont has increased overall marketing, but
reduced 10% of their catalog mailings due to email.
Pictures of classes are emailed 2 months prior to
the beginning each class. The month prior they send
an email with blurbs about the classes. This has
actually increased marketing effectiveness.
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In
some cases it is important to clarify when marketing
to consumers of products rather than to students
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Craft schools have special challenges due to the
media. Each waxes and wanes in popularity.
Materials change, tools need to be replaced. Some
materials aren’t compatible, such as various types
of glass. And, it is costly to acquire a full
compliment of tools for certain media.
Suggestions for increased attendance:
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High fees or complex fee structures are also
barriers. Streamline fees so people won’t feel
nickel and dimmed.
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Have a guest artist from a different medium for one
day.
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Arts and wellness classes are gaining in
popularity.
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What about recruiting older and younger students
together (at Arrowmont the median age of students is
over 50)? Can the young and old work together? The
intergenerational mix is dynamic. Can you market to
a broad spectrum? Youth, college students and
adults require different marketing and price-points
for classes. This can be addressed by offering a
membership discount on classes.
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Offer introductory workshops. They let new students
test the experience without the commitment of a full
class. This could increase recruitment for next
season because the students return home with an
object they created. One example is a head of a
construction company who wove a basket, then
coworkers wanted to come along to the next class
after seeing what was created. Another group
offered five-day intensives for intermediate level
skills. This developed into a regular Sunday
afternoon class.
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Are
institutions offering courses that are chronically
under-enrolled just because of the historical
importance of the medium?
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Which works better for recruiting at your
organization: pure demonstrations versus
introductory participatory experiences?
Some
want to maintain selective accessibility. They were
concerned about engaging the general public, issues of
public funding requiring publishing of statistics,
finances, fundraising information, etc. How do other
organizations balance all of this?
The
group would like to see more talk on increasing
standards within the craft community. This has been a
challenge because quality and standards issues have
rankled the egalitarian nature. The craft world has
wanted to include everyone, but schools and centers need
to be selective. Remember: craft isn’t the medium, but
the work. There are new, innovative materials to
respond to, but high-level craftsmanship should still be
maintained. In 1850, standards were set in craft
schools in England, and they are still able to rely on
this reputation of excellence.
How are
our groups helping keep artists informed? After
graduation, how do they create a future and manage their
careers? Are our students reading journals and
participating in crafts shows? Are we continuing to
learn new ways of reaching out, entering the market
place, and recruiting new talent? We need to educate
students so they can make it into high caliber shows,
festivals, residencies, teaching positions, galleries,
and more.
All
schools must work on these important issues together.
We should call other organizations and open lines of
communication: share what works and what doesn’t,
network.
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