What sets your arts venue a part from other venues in the city?

I want to focus briefly on two features you may not be aware of in Atlanta Spaces: multiple listings and a search feature that allows you to look for spaces that have musical instruments available.

An organization can have a public landing page about all their rentals that links to the listings. A great example of this feature in Atlanta Spaces is The Georgia Ballet’s page.

Multiple listings from the Georgia Ballet

This is useful if the end-user knows the name of the organization he/she would like to search. From the homepage, I typed in ‘Georgia Ballet’ in the top right search bar (appropriately titled: Search by Name). Their page looks good, right? I can see a Google Map, a summary of studio spaces and some basic contact info. If I want to know more about a specific studio space, I can click to an expanded description. Easy.

What if I need to find a space that has a piano for an upcoming event? Say my husband and I want to rent a space for our upcoming 15 year wedding anniversary (December 27). From the Atlanta Spaces homepage, I look on the right side under “I need a space for…”  and click special events/parties. I am going to choose to stay within a 5 mile radius of my house. I hit search and get back a list of several companies that offer space for special events. BUT! I still need that piano. I notice that the search menu has more options.

Homepage Search Menu

I am now going to click on “More search criteria.” Bingo! I know see an option to search venues for a performance piano. Several organizations fit the bill. Now I can really narrow down venues for that anniversary party!

Search results - Performance Piano

To recap: you now know you can view multiple listings within the same organization profile AND you can search venues for specific musical equipment. So… why isn’t your venue listed on Atlanta Spaces?

As I mentioned in a previous post, C4 Atlanta is highlighting the work of its members. Each month, we will post an interview about one arts organization and one member artist. We want to help build a community among our artists. Sometimes, with our busy schedules, we aren’t able to keep up with one another. This is a platform for expanding our creative reach and an opportunity to recognize the amazing talent residing within our city.

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Greenhouse Still Life, Jeffrey Adler

Jeffrey Adler is a neat soul. I met Jeffrey during our Ignite class. Honestly, I was honored to have him in the seminar. Within that class, you have artists who bring a wealth of experience and insight to the table. Jeffrey is no exception. I hope that this interview will give you a glimpse of the artist, Jeffrey Adler. To learn more about Jeffrey, visit Adlerarts.com. Enjoy!

“I’m not trying to make the world a better place, just a better looking place.” –Banksy

I make new work blending a backward glance with a forward look or sound. (Making my living as a painter, photographer and designer, I sing and write songs, too.) I use symbols and pattern extensively in paintings, objects, and furnishings. Decorative art informs the work, often in the form of pictures within pictures. Text and texture become patterns in some work, 2-D and 3-D. 

JH:Are you originally from the Atlanta area?

Com Plat II-5, Jeffrey Adler

JA: I came to Atlanta in 1977, resident since.

JH: How long have you been practicing your art?

JA: I got my first commission when I was 18, so that makes four decades.

JH: Who inspired you to create?

JA: I have to say the inspiration to create came from inside, so I guess that means the inspiration was from the Universe.

JH: Who or what inspires you today?

JA: Jeff Koons is who. The challenge to make new work that is not totally derivative is what.

Wist leaves Bloss, Jeffrey Adler

JH: What is the greatest challenge facing Atlanta artists today?

JA: Wow. Of the ten questions, this one gives me the most pause. The greatest challenge facing any artist of quality is getting the work in front of the right patron, be it private, commercial, or institutional.

JH: What does Atlanta have to offer artists like you?

JA: Atlanta has been very good to me. It is affluent. It is full of professionals who commission art, who place art, and who buy art. Atlanta is also a music center with a diverse populace eager for novelty in all forms.

JH: Do you have a local favorite (artist)?
JA: Yes. The late Michael Venezia.

JH: What advice do you have for a young person thinking about being an artist?

JA: Those worn out aphorisms obtain: Just do it. Follow your heart. Learn history. Watch the pros. Read labels. Break rules. Be fearless.

Water color of Grover Farm, Jeffrey Adler

JH: Do you have a favorite quote? What is it?

JA: I have many favorite quotes. I suppose this by André Gide is number one: “Trust
those who are seeking the Truth. Doubt those who find it.” Or maybe it’s this one by
Glenn Gould: “At the end of the day there are only two things that matter: Truth and
Beauty.”

Thank you, Jeffrey!

Note: The audio of April’s TechsmARTs discussion can be found at the bottom of this post.

If I were to split out the world of social media professionals into two camps (for the sake of this post), there are those who like to refer to social media as a conversation, and those who don’t. Mark Elliot, an on-camera meterologist with The Weather Channel falls squarely within the pro-conversation camp.

Mark is a TWC meterologist who is specifically charged with keeping the conversation going. A quick check of his Twitter feed at any time offers a glimpse into the conversation. His latest tweets generally tend to include replies, questions to his followers, and updates on weather events. Mark also maintains a Facebook page that doesn’t cross-post to his Twitter feed (thank you for not cross-posting, by the way).

A few months ago Mark approached us with an offer to speak at a TechsmARTs session. We decided this was a good opportunity to try something new, and see what wisdom we could glean from his experience and apply it to the arts world. Many thanks to those of you who showed up to indulge us.

Mark offered a wealth of information on who is using the various social media platforms, and how each of them tend to be used. But he began by making the point that social media is a conversation — and it’s a conversation where you (as an arts organization) want to be involved.

I’m not going to speak too directly to Mark’s presentation. You’ll find the audio from the presentation included at the bottom of this post. Inspired by Mark’s presentation, I’ll focus on the point of social media being the conversation, and what I believe that means for artists and organizations.

What is the difference between having a conversation and broadcasting a marketing message? First, if your organization’s marketing director is the only one “managing” the Facebook page and/or Twitter stream, your organization may be, as Trevor O’Donnell put it, acting out the wrong love story. That is to say, if every message sent out over Twitter and Facebook is about the greatness of the organization or the next show or event, then you might want to reconsider your messaging. You may be inadvertently sending out a message that says, “Our organization takes no interest in its audience. Just as our audience is irrelevant to us, we are irrelevant to our audience.”

Mark’s presentation tells the story of a broadcasting company becoming a social company. He offered ten ways TWC is using social media. Your average artist or arts organization would likely collapse before trying to emulate TWC’s incredible social machine. Most of us don’t necessarily have the capacity to fully take advantage of even the free resources that are available. But that’s okay. It’s better to focus on “how” rather than “how much.” Beth Kanter has a blog post listing 52 tips for using social media more efficiently, and you don’t have to focus on all 52 of those things.

Artists carry a natural advantage over many other types of businesses when it comes social media. But as Mark McGuinness explains, there are some mistakes artists tend to make, too. The natural advantage artists carry: artists are already in the practice of producing content. Many artists tend to fear “giving the product away for free.” At the end of McGuinness’ blog post, he asks, “What you would add to this list?” The first comment: “Not understanding what it is they’re really selling or what it is that people are really buying (hint: it’s not a piece of artwork).”

I think one key lesson from Mark’s presentation is that most of the on-camera meteorologists maintain their own Twitter feeds and Facebook pages. This is a major aspect of an organization engaging in a conversation with its audience. Even considering the resources at TWC’s disposal, that’s still a very high level of engagement. I’d like to hear from you if your arts organization has attempted anything similar.

According to many marketing studies of the arts, a majority of first-time patrons never return after that first visit. Could social media be an avenue for better engaging those new patrons? What strategies have worked for you as an artist, or for your organization to more consistently engage your first-time patrons? Or, is social media more effective as a platform for patrons who are already engaged and inclined to return?

We want to tell the world about our members, so each month we will feature at least one artist member (coming soon!) and one member organization. This post is not about C4 Atlanta. It is about the people who make Atlanta a great place to live. We hope you enjoy!

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This month, we are featuring the Atlanta Jewish Music Festival. AJMF was a founding member of C4 Atlanta. They are crazy busy right now preparing for their music festival next week, May 9 – 13, 2012.

AJMF provides the Greater Atlanta community an opportunity for connection to and involvement with fresh Jewish music.  AJMF’s third season will provide diverse and engaging musical experiences through its annual Spring Festival (May 9-13, 2012), an extended artist residency, listening parties, open mic events and more.

Russel Gottschalk, Director & Founder, is a great guy to know. He is super involved in many aspects of the Atlanta community. I see him everywhere. Russel, in the midst of putting together a festival, was gracious enough to spare a few moments to answer a some questions about AJMF.

Dan Saks of DeLeon - Courtesy AJMF

JH – How does one get involved with AJMF?

Greencard DJs - Courtesy AJMF

Wednesday, I accompanied my daughter as she auditioned and interviewed for a local arts high school. Afterward, as a family, we went out to eat together to celebrate this stage of the process. The four of us talked about high school, the future, grades, and we laughed at our lame fortunes from a folded up cookie. We always talk and laugh. The four of us.

The Hollands. The Four of Us.

We started talking about college. My oldest daughter can be very pragmatic–things like cost and distance worry her.

During dinner I said to my oldest daughter something like, “I wish I had this opportunity when I was your age. I wish I had the endless possibility that is before you…” You know the speech.

She interrupted with a half-smile, because she is thirteen, and said, “Don’t be one of those parents that tell their kids to do something just because you didn’t.” She said this with a light heart. She knows I am not one of those parents. I don’t have to hover because my kids don’t try to get away.

The conversation paused for a moment while we paid the check and walked back to our van. This was my reply (to the best of my memory):

“I don’t regret one decision in my life. We make choices and take advantage of opportunities in front of us. We make the best choices at the time–and sometimes we make the wrong choices. But that is different than regret. You have your whole life ahead of you. You can go to any college you want to. Don’t settle. Don’t think about the cost. Make a decision and then figure out how to get there. Get out. Explore. Just don’t limit yourself. Ever.”

She was gave me a very thoughtful reply: “okay, Mommy.”

“Okay, mommy” from this teenager translate to, “That makes sense. I understand.”

Joe and I have talked to many artists from many different backgrounds. Visual artists, actors, writers, the list goes on. The artists who come through our Ignite class are not necessarily the kids fresh from college. Some have established careers. Others are looking for transition. And there are those souls who believe it is never too late to start something new. These artists know the value of hindsight–not regret.

But you don’t have to take 10 years to figure out how to be a sustainable artist. You can get the help you need now. I am reminded of the Blackberry slogan: “Be bold.”

It was my husband who told me about the Corridor Principle. The idea is that you don’t see the open doors until you start walking down the corridor. But the trick is…you have to start. Start something new. Do it today. Plan as if you have your whole life ahead of you. Set goals like an adolescent.

Take a look around at the search results for “why fund the arts” and you’re sure to find plenty of preachers chatting up their choirs for a rousing “amen” or two. The arts provide enormous economic benefits to local communities and the nation as a whole. But that’s not the whole story, and it’s not exactly the most compelling reason to head out to your local theater or museum.

And if you think about it, where would you rather send your charitable dollars? Would you rather send your money to an organization that fosters public dialogue, or to an organization that helps kids with cancer? Remember: your charitable dollars are limited. If such causes as “fostering public dialogue,” or “preserving artistic forms” fall higher in your charitable priority list above kids with cancer, your priorities may not be the same as the rest of us. That’s not to say your priorities are wrong — just different. And that’s okay.

There are many benefits to supporting the arts, and I would hope that if you’re reading this, you’ve heard most or all of those reasons, both intrinsic and extrinsic. It’s up to those of us who are practitioners in the field to recognize, deliver, and communicate the value we provide in the way of both public goods and charitable activities.

Let’s get to the heart of the matter. Times are changing, and no amount of holding on to 20th century American modernist models of the funding and production of art will save your arts nonprofit. The new reality brought to us, in part, by technology forces a structural change in the way institutions operate. Gwydion Suilebhan offered a perspective on the emerging role of the arts institution in his TEDx talk: not unimportant, but different.

So why should there be public funding for the arts in this age of changing relationships between artists, audiences, and institutions? There is no single answer, but many perspectives. Some of those traditional perspectives include “fostering public dialogue,” or “preserving artistic forms,” or “economic vitality.” Other reasons, in a quick roundup:

• “Orchestras do not play Beethoven’s Ninth Symphony faster every year.” Michael Kaiser explains why subsidies are important to keep tickets for arts events affordable.
• “The arts are a necessity.” Claire Willett makes the case that the arts are as essential to life as food and water.
• “The most compelling argument for funding the arts is not factual but counterfactual. The cuts … will have major and still unpredictable effects on arts provision…” David Edgar ultimately reaches the conclusion that large institutions will not survive the shift to a more participatory model of art production and presentation.
• “The musicians will expand the imagination.” Alan Balfour, Dean of Ga Tech’s College of Architecture explains why imagining a better future is necessary for building a better future.
• “If you ask people what would improve their neighborhood the most, the arts come up time and time again.” Nonprofit consultant Kelly Kleiman changes her mind on whether the arts should receive public funding at all.

This is by no means a comprehensive roundup. To get into reasons for funding arts in education, I’d have to go into a bottomless pit of a rabbit hole. For every conceptual reason to fund the arts, there are relevant stories to be told that can speak to the economic reasons (why arts funding should be a higher priority), the social reasons (how arts funding improves quality of life in society), the political reasons (how arts funding democratizes culture), and so on.

The point of all this is to say there are many reasons to support the arts through both public and charitable funding. With this “blended approach” to making the case, it’s up to the rest of us to act the case, and not just communicate it. The blended approach also reflects the different ways we produce and present, and how those approaches are complementary to one another, not in competition.

When we were in Toronto for a conference with our fellow service organizations, Tim Jones, one of the keynote speakers, gave his opinion on the subject of arts advocacy: why do we argue about whether the “economic value” argument or the “intrinsic value” argument is better? We use up a lot of energy as a community arguing with each other about which of these cases works best. Jones refered to the quadruple bottom line of the arts: economic value, social value, environmental value, and cultural value. These values are not mutually exclusive of one another.

So what case do you make for supporting the arts? How does your arts practice reflect the case you make? I would love to hear your thoughts on these questions.

It is time for the arts community to heal and abandon deficit thinking.  If the arts constitute a driving force of the economy, then let’s come together and do it as entrepreneurs.

Last week, I had the pleasure of listening to a talk given by Tim Jones of Artscape. This session was part of the Association of Performing Arts Service Organizations’ annual conference in Toronto, Ontario. Tim restated a statistic* that I had placed on Facebook earlier that week (or maybe it was the week before). The workforce is now comprised of 30% self-employed workers and growing. That is a significant portion of the U.S. workforce. What does this mean for the arts sector? Are artists (and arts organizations) prepared to keep pace with the “new” economy?   

Traditional hierarchical structures of business are crumbling. There is a fundamental shift taking place within the American workforce. B-school experts like Michael Porter are talking about entrepreneurship as a way to redefine capitalism. We cannot be the last sector to notice this shift. How does the shift from working for a large company to working for one’s self affect those of us in the arts? How does it affect donations, patronage, etc? Does anyone in the arts community notice the shift in our economy? Tim Jones is talking about it as well as Richard Florida.

Arts businesses are poised to help create solutions for societal problems, but this is not just a trend among mission-based businesses, such as nonprofits. With the emergence of B-Corps, L3C’s and other hybrid entities, we are seeing that traditional businesses (and the people behind them) are being held to a higher form of societal accountability. Arts-businesses have the advantage of creativity and innovation, but all too often they lack the vocabulary to understand and manifest best practices in entrepreneurship. In my opinion, learning business skills is a much easier fix than learning how to be a creative thinker. After all, a majority of businesses fail because of bland, mediocre models.

Corporations are being held to a higher accountability to not just a local economy but to the entire world ecosystem. The environment, employees and the consumer are part of the new bottom line. This is a result of the inevitable pendulum shift toward a more networked society. What about arts businesses?  Where are the women playwrights? How about diversity within our arts organizations? What relationships exist currently between artists and arts organizations and why as an ASO are we asked to serve one or the other? Maybe… there are lessons we can take from collapsing corporations. If I had to sum it up in one word: relevancy. Entrepreneurship can help us stay relevant. We are not exempt from changing tides.

If self-employed, entrepreneurial businesses are going to drive the economy of the future, then how do artists fit into that context? Without essential skills and a support network…they don’t.

As a community, we must embrace entrepreneurship in the arts, in food service, in technology, in health care, and so forth. We cannot afford to get left behind. Arts organizations, as well as service organizations, should support a network of professional, business growth. Arts entrepreneurship benefits all. We know the studies about what a thriving arts ecology can do for a neighborhood, city or region. And the problem is more systemic than just lack of funding. That may be a part of the puzzle, but it is just a piece that is reflecting what is valued in our community.

After working with Board Fellows from Emory’s MBA program, surveying the arts community, and looking at trends across the board, I felt additional validation from the keynote from Tim Jones. C4 Atlanta must keep entrepreneurship in the arts as a focal point of its mission. We will continue to provide a safe place for artists and arts administrators to try new ideas, to lean on peer-to-peer learning and to envision a future for a better Atlanta. Innovation must be on the lips of every board member, staff member and funder. It is time to stake our claim and spur innovation and entrepreneurship in a low-growth economy.

*Actually, Tim Jones stated 40% of the workforce is self-employed. This number fluctuates between 30-40%, depending on the source. The main point is that it is trending toward an increase.

Guest Post By Rebecca Holohan, C4 Atlanta Artist Member

The ladies on the #5 bus take their places

Photo: Marge Curtis

every morning, trade gum, mints, cookies,
scratch tickets, Kleenex as we lurch
down Piedmont Road. One’s always telling
the others some story, like the time she fished
with gummy worms as bait, you shoulda seen their faces…

When they laugh it’s a sharp loud chorus
punctuating the groggy morning commute
there’s one who always whoops
and one who cackles
and one who snorts
and that lady in the corner who always chuckles
not sure if she’s in on the joke…

The mist covers the heavy skyline,
blurs the harsh buildings of Buckhead,
as our bus rattles on, cackle wheeze
snort whoop, a morning holler,
a groaning bus, the ding of the line you pull
for your stop, traffic swimming around us,
this wide rusty ship that carries us all to work, or somewhere…

I moved to Atlanta a year ago as a recent college graduate and young writer and artist. I couldn’t afford a car when I came here, and relied on MARTA buses to find my way around the city.

I realized early on that navigating the public transportation system of Atlanta was a journey through the race and class landscape of the city. To understand the situation, I had to understand the context of MARTA, its funding, its legislative battles, who it was meant to serve and who benefits from its failures to provide true access to the city for those who cannot afford a car. Unlike other cities I had lived in, where people of varying races, genders, and economic classes all rode public transportation, Atlanta’s transportation was strongly segregated.

Photo: Marge Curtis

I was often the only young white woman on the buses, and depending on which bus line I rode, the other passengers seemed somewhat puzzled when they noticed me. A few times people asked if I was a student, attempting to “place” me. Many white people I met seemed even more puzzled by my situation—I was college-educated, white, from an affluent background, and yet rode the buses? They wondered aloud how I could even live here without a car. They asked why my parents wouldn’t help me buy a car. They were confused, sometimes incredulous, or pitying. One person joked, “I guess you don’t know what MARTA really stands for…Moving African-Americans Rapidly Through Atlanta!” This remark further confirmed for me that the historic legacy and present reality of racism deeply shape the discourse around public transportation in Atlanta. The Atlanta Transportation Equity Project  at Clark Atlanta University cites “transit racism and transportation apartheid” as “major factors that have kept [Metro Atlanta] racially, economically, and spatially divided.”

What does all of this mean for art and the creative economy? How is the art scene in Atlanta shaped by segregation, poverty, and lack of access? The poem above was one of the only pieces I wrote during the winter months, when the stress of little money and reliance on MARTA drained my creative energy and left me with a writer’s block the size of Texas. The art we produce when we are in survival mode is different from art birthed from a place of support, resources, artistic community, and inspiration. Not having a car limited my access to arts venues, arts organizations, and other resources. During my first weeks in Atlanta, I tried to pursue opportunities as a teaching artist. These efforts were futile, however, because I needed a way to get to schools, a way to be there on time, and a way to transport materials. I discovered that in Atlanta, as a young artist without a car, I was unable to contribute fully my talents and skills. My story is far from unique, given the systemic inequities that exist here in Atlanta and across the nation.

Wonderful art comes from Atlanta, and it comes from artists and communities across the spectrum of race, gender and socioeconomic class. I write simply to highlight the important intersection of two questions: 1) Why does public transportation inequity in Atlanta matter? and 2) What conditions foster a thriving, bustling creative economy in a city? These questions are inextricable because public transportation creates and reinforces social and economic divides, which influences who can participate in the creative economy and in what ways. I envision the vibrancy, diversity, and deep expansion of art and artistic community that is possible when everyone can access, create and share art and artistic community.

I care about public transportation in Atlanta not only because of my own experience struggling to access the city, but because the questions about MARTA and access are part of a much larger conversation about entrenched institutional racism, the violence of history, how we define who is in “our community,” and what kinds of artists and artistic expressions we value. By limiting who can afford to create art, experience art, and share their art with the diverse Atlanta communities, we deprive ourselves of the true richness that comes from having everyone’s voices at the table.

There are many opportunities to address the transportation crisis and questions of access to the creative economy. For arts organizations hosting classes, workshops, performances, and other events, consider whether the locations you choose would be accessible to someone riding MARTA. What communities and potential audiences in Atlanta have you overlooked? What barriers exist to the public accessing your organization or performances? Do you feature artists and performances that appeal to a wide range of audiences?

On the legislative front, residents across the 10-county Atlanta region including Cherokee, Clayton, Cobb, DeKalb, Douglas, Fayette, Fulton, Gwinnett, Henry and Rockdale counties, as well as the City of Atlanta will have the chance on July 31, 2012, to vote on a referendum that would fund $8.5 billion in transportation improvements through a regional one percent sales tax. It is an investment in the arts, the creative economy, and the city and people of Atlanta to join the conversation about transportation and vote this July.

Riding with the ladies of the #5 bus, I understood that creative people find expression everywhere. We make art to understand our communities, our world, and ourselves. We make art to tell the truth and to explore the edges of our human experience. Inclusive and accessible artistic communities serve the same function as great works of art: they wake us up to the beauty and pain of our lives, ask us hard questions, and offer us immeasurable gifts if we are willing to do the work to receive them.

Photo: Marge Curtis

Note: see below for new income guidelines!

On Monday, May 14, 2012 Kaiser Permanente will be accepting applications from eligible C4 Atlanta members in the Kaiser Permanente Bridge Program. Enrollment slots are limited.

Where: Academy Theatre
Time: Register for an application time HERE

Enrollment Guidelines
Individuals will be required to attend an “orientation” session BEFORE applying. There is NO cost for this session. The orientation will be offered twice on May 14, 2012 at Academy Theatre. This session is mandatory. You will not be allowed to apply without attending the orientation session.

Bridge Program Monthly Premiums*
$27.00 – Single Subscriber
$49.00 – Subscriber & Child(ren)
$55.00 – Subscriber & Spouse
$82.00 – Subscriber, Spouse & Child(ren)

*Premiums are subject to change.

Income Guidelines (max income): 

Bridge Program Income Guidelines

Family Size includes Self, Spouse and Dependents.

I have a confession. C4 Atlanta hasn’t been spreading the word very well about Atlanta Spaces. Not lately. We’ve been crazy busy. We got an awesome intern from Emory to help out. If she calls you, please call back.

Just a little reminder: C4 Atlanta and DanceATL are working together to bring our community Atlanta Spaces:

Atlanta Spaces is a comprehensive, state-of-the-art, searchable database of arts venues and facilities in the Atlanta metro area. The website lists venues that offer space for classes, workshops, auditions, rehearsals, performances and more.

Atlanta Spaces Homepage With Slideshow

Part of what stumped me was how to really message Atlanta Spaces. I see its long-term potential for the Atlanta arts community. Fractured Atlas built the software and they have a great vision for how Spaces will fit into an entire ecosystem of data collection. 

It wasn’t until I had a recent phone conversation with Lisa Niedermeyer, Fractured Atlas, that I realized C4 Atlanta has been messaging the value proposition all wrong. A light bulb went off when Lisa described Spaces as a “market place.” It is not just an online directory of venues. Even though our database only has 36 spaces marked online, that is still more than any other site in our region offers with the same amenities that Spaces provides.

If you rent out your venue, how can Atlanta Spaces help you?

Think about trying to find a space to rehearse a show, host a meet-up, hold a film screening, or even a place to have a wedding. How do you start? Google. Maybe. If you are familiar with arts venues, then you have a one up on a majority of people in the metro area. But let’s say you aren’t. You would have to know the name of the company’s venue or space you would like to rent to get to its website. With Atlanta Spaces, the end-user doesn’t need to know your company’s name–she just has to know what she wants out of a space. Atlanta Spaces becomes an access point. It works for people looking for space in the industry, but it also helps those who are not directly connected to your organizations, like a patron or volunteer. It’s about expanding reach and connecting to the greater community at large. It’s about creating exposure for the vast resources available within our arts community.

Search Example for Dance, Rehearsal Space

Other cities are using Atlanta Spaces to reach out to community. Like to see some examples? Check out Philly Space Finder and D.C. Space Finder.

Next week, Joe and I will be in Toronto for the Association of Performing Arts Service Organization’s annual conference. I look forward to hearing about how other cities are utilizing this tool. More to come…

In the meantime, list your space. It’s free. It’s easy to list. It does take some time if you want to flesh out your listing, but it is worth the effort. We will be promoting Atlanta Spaces more over the coming months. In August, Lisa from Fractured Atlas will be in Atlanta to talk more about the goals and benefits of this project. Get on board! One of C4 Atlanta’s goals is to connect Atlanta’s arts & culture scene to the rest of the United States.

TIP: List your rates! Imagine going to Company ABC’s website and you can’t find a price for a new shower curtain. Or you visit the local theme part site and no admission prices are listed. Frustrating right? Put yourself in the place of the end user and think about what he needs to see in order to make a decision about purchasing.