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Worcester Arts Workshop: a Sustainable Future Amybea T Worcester Polytechnic Institute Digital WPI Interactive Qualifying Projects (All Years) Interactive Qualifying Projects May 2017 Worcester Arts Workshop: A Sustainable Future AmyBea T. Walder Worcester Polytechnic Institute Jinan Hu Worcester Polytechnic Institute Megan Theresa Hoppe Worcester Polytechnic Institute Miya Kristine Rubio Bidon Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/iqp-all Repository Citation Walder, A. T., Hu, J., Hoppe, M. T., & Rubio Bidon, M. K. (2017). Worcester Arts Workshop: A Sustainable Future. Retrieved from https://digitalcommons.wpi.edu/iqp-all/275 This Unrestricted is brought to you for free and open access by the Interactive Qualifying Projects at Digital WPI. It has been accepted for inclusion in Interactive Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. W O R C E S T E R A R T S W O R K S H O P : A SUSTAINABLE FUTURE AUTHORS: SUBMITTED TO: Miya Kristine Bidon Professor Ruth Smith Megan Hoppe Sarah Cotterill Jinan (Dorothy) Hu AmyBea Walder P a g e | i P a g e | ii Worcester Arts Workshop: A Sustainable Future An Interactive Qualifying Project Report submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By: Miya Kristine Bidon Megan Hoppe Jinan (Dorothy) Hu AmyBea Walder Project Advisor: Professor Ruth Smith Sponsor Liaison: Sarah Cotterill 4 May 2017 This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about these projects, please see http://www.wpi.edu/Academics/Projects. P a g e | i ABSTRACT Community arts organizations, despite their social value, often struggle and may be more likely to survive by increasing their overall sustainability. Our project involved the community identity and operations of the Worcester Arts Workshop. We gathered information on organizations similar to the Workshop as an operational comparison, and further developed the Workshop’s history, community engagement, technological systems, and time usage awareness. We created a guideline for possibilities of the Workshop’s activities to allow it to improve its sustainability and accessibility. P a g e | ii EXECUTIVE SUMMARY Literature Review The arts have many benefits to society and can promote personal growth, child development, the health and well-being of senior citizens, and even social cohesion and a sense of national identity. However, when funding organizations such as the Arts Council England assess the value of the arts as they look to support them, they often measure solely in terms of finances. As recognized by John Holden, a Visiting Professor at City University in London, this approach does not adequately consider the intangible cultural value of the arts (2015). It may be more appropriate to view the value and structure of the arts community as if it were an ecology, where each part supports the other and it is important for all to succeed (Holden, 2015). Several ideas exist concerning topics a struggling arts organization might consider in order to survive, and each can be interconnected within the environmental, economic, and social pillars of sustainability. While these ideas are not unique to the arts community, small, community-based arts organizations have relationships with these topics that are particularly interesting. As a global issue, environmental sustainability should be a significant concern to all. A recent issue involves alarming levels of nitrogen dioxide in London as a result of diesel engine use, which serves as a reminder that environmental issues are not a distant concern; they can be exacerbated or addressed by anyone (Taylor, 2017). Arts organizations hold a unique position with environmental concerns, as they can not only resolve to act in environmentally friendly ways, but also can promote environmental sustainability to others through their art (Lin, N.d.). Economic sustainability presents an interesting conundrum within the arts community. While financial measurements can limit representations of the true value of the arts, finances are nevertheless important to the operations of arts organizations. It is particularly difficult for small organizations to achieve environmental or social sustainability without the funds to support their endeavors. However, funding for small community arts organizations is scarce, and many organizations often rely more heavily on volunteers or profits rather than on paid employees or arts funding. This lack of funding may present a paradox where expanding events would bring in more profits, but money is needed to allow the organization to expand their events. An organization’s size can also further complicate this matter, as some organizations cannot expand P a g e | iii their events due to space concerns. This affects not only the financial return on their activities, but also their social sustainability, as limited space limits the diversity of community groups they are able to attract and accommodate. Social sustainability, while important in many different contexts, is particularly relevant to small arts organizations that interact directly with the community. These organizations are both supported by and aim to support their community. Such organizations may pay special attention to their social sustainability to ensure their events and activities are accessible to all social groups, both physically and financially. Renowned researcher Michael Kaiser, who has successful experience with struggling organizations, suggests that they may benefit from working to become more sustainable overall (2009). Throughout the past 40 years, the Worcester Arts Workshop, a small community arts organization located in Worcester, has offered a variety of arts opportunities to its community, including arts workshops, theatre, live music, and other arts based community services. The Workshop is currently at a transition point as an organization, as it aims to have “the most sustainable and accessible building in Worcester” (S. Cotterill, personal communication, March 15, 2017). As it looks towards to its future developments, the Workshop has strong support from its enthusiastic patrons, highly dedicated staff, and trustees. Among the support the Workshop has received was from the collaboration with last year’s WPI student team. Through their involvement with the Workshop’s stakeholders and assessment of the building, the team developed several recommendations, such as adding insulation and including more events, to improve the sustainability and community outreach of the Workshop. To build off this previous work and in relation to potential developments, the organization is considering its aspirations and the pressures it is experiencing involving its large workload with limited staff, aging building, and scarce funding. They also are interested in strengthening their identity through the unification of their technological systems, and through the collection and presentation of their unique history within the Worcester community. Methodology In order to address some of the Workshop’s pressures, we observed its management and operations by exploring its current structure and activities alongside those of similar arts organizations. We developed objectives falling within the pillars of sustainability. To collect information regarding the operations of organizations similar to the Workshop, P a g e | iv we observed various elements of the Workshop to create categories to develop our list of comparable organizations. These addressed topics involving course operations, management structure, volunteer usage, room hire procedures, exhibitions, and grants and funding. We constructed a questionnaire based on these categories to use as we conducted semi-structured interviews. To assist the Workshop in developing the story of its history, we conducted research to gather more information about the Workshop’s building. Additionally, we collected personal accounts of the memories and experiences of the Workshop staff and stakeholders. To observe the time usage of the managers of the Workshop, we collected information on the management’s activities and recorded the amount of time they spend on each. We then compiled the observational data to determine common trends, which aided in our creation of categories for analysis. We constructed a pie chart, which analyzed the average percentage of time the management spent performing activities in each category. To streamline the technological systems of the Workshop and strengthen the identity the Workshop presents through them, we made alternative models for the booking system for the upcoming summer course registration that could later be published by the Workshop’s administrator. Rather than immediately changing the website, we made templates in WordPress so the Workshop can update the website easily when they choose. To promote the Workshop as a sustainable organization through community engagement, we recognized Go Green Week as an opportunity for the Workshop to engage with the community using art to promote sustainability ideas. We designed a poster representing sustainability and divided the poster into segments for the event. On Earth Day, the final day of Go Green Week, we encouraged the community
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