A Performing Arts Approach to Collection Development


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A Performing Arts Approach to Collection Development
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Grant Proposal
Jefferson, Rebecca
George A. Smathers Libraries, University of Florida
Place of Publication:
Gainesville, Fla
Publication Date:


Mini grant funding is being requested to facilitate an innovative, collaborative research project to develop and test the efficacy of an alternative form of collection development using the performing arts. This mini-grant research project will generate three performances linked to and based on materials in the Isser and Rae Price Library of Judaica. The performances will be held at three separate venues for three different targeted audiences. The project will test the hypothesis that transformative performances linked to objects in the collection will create a durable, emotional connection to the objects and through them to the collection. It will attempt to prove that a marked performing arts program created by leveraging existing material and personal expertise and aimed at targeted audiences creates outreach efficiency.
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Sponsor: George A. Smathers Libraries Mini Grant Program

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University of Florida Institutional Repository
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University of Florida
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A Performing Arts Approach to Collection Development Project Background Mini grant funding is being requested to facilitate an innovative, colla borative research project to develop and test the efficacy of an alternative form of co llection development using the performing arts. In an environment of increasing budgetary restrictions, lib raries and museums are exploring new ways to develop their collections. The importance of connec ting with local communities has long been recognized in the museum world where audience engagement through audio-visual enhancements such as interpretative assistance has increased exhibit attendan ce numbers, raised the prominence of collections, and even helped shape permanent co llections in new ways. Yet, these e ndeavors are still largely inert; that is to say, their presentations are fixed in time and sp ace and their long-term impact, in so far as making a lasting connection to an audience of potential collection donors, unknown. The same is true for libraries whose outreach usually takes the form of static displays, lectures, booksignings and tours. While these are all important out reach tools, they may not make a deep enough connection to establish a lasting reciprocal relati onship, generating future gift-in-kind donations. The performing arts, however, are well documented for th eir transformative abilities. A performance involves an artistic exchange wherein an emotion is transfe rred from the artist to an audience member, leaving a lingering impression on the mind and creating an ‘impact echo’ or enduring remembrance. The method of transforming library objects through storyt elling is a technique that the PI employs in her outreach work, having seen its effects during docent tour s in her previous role as a curator for the famous Cairo Genizah manuscript collection and recently as the manager of the Isser and Rae Price Library of Judaica. A book or manuscript with a story is transpor ted from being a mere static object into an item of interest with the power to create a deeper connecti on to its viewer. The PI enhanced her displays of Genizah manuscripts with stories about the objects, enabling non-Hebrew speaking audiences to connect to otherwise unintelligible scraps of paper. Similarly, the PI has observed in recent public talks that an item such as an old, yellowed notebook in impenetr able Yiddish has the power to resonate with an audience once it is known that it belonged to an importa nt Rabbi and contains fascinating evidence of his acculturation to a new land. This piece and other simila r pieces highlighted in a curatorial tour for the ‘Jewish Jacksonville’ exhibition (April 2012) clearly sparked associations in the mind of the audience, many of whom were inspired to offer compleme ntary gift-in-kind donations to the library. The effects of a performance in relationship to a co llection were first noticed by the PI and project partner, Bess de Farber, in November 2011 following a performance of de Farber’s original concert piece, ‘Composing A Heart’ at the Civic Media Center in Gainesville, Florida. The performance combines solo clarinet pieces interspersed with personal stories. The stories trace the lives of de Farber’s parents, Jewish immigrants to Florida from Argentina and Poland. This event was co-sponsored by the Isser and Rae Price Library of Judaica, and the curator preceded th e performance with a talk about the library. A few months after the performance, the PI was contacted by a member of the audience who had been stirred by the stories in the presentation and performance to find items in her possession to donate to the library. The items that she had been moved to remember were of significance to the library as they had belonged to her deceased husband, a former patron of the library w ho had based much of his scholarship on its literary holdings. Project Description This mini-grant research project will test the hy pothesis that transformative performances linked to objects in a collection will create a durable, emotional connection to the objects and through them to the collection itself. It will attempt to prove that a ma rketed performing arts program created by leveraging


existing material and personnel expertise and aimed at targeted audiences creates outreach efficiency. The objectives of this new and innovative research are to create the methods by which to market such a program and to test the effects of that method. If the hypothesis being tested is correct, the generated research results will provide the impetus for further fundi ng to test the hypothesis on a larger scale, and to replicate the performances. It also will help genera te an alternative collection development plan and formula to present at library conferen ces and publish in library journals. The project will have three key partners: Bess de Farber, Professor Kevin Marshall and Dr. Sophia Krzys Acord. Bess de Farber, in addition to being the Li braries’ grants manager is a clarinetist and has performed in countless recital and chamber musi c concerts. Her co-created performance piece, Composing A Heart, combines music and stories follow ed by an interactive audience discussion. Kevin Marshall is a professor at the University of Florida Sc hool of Theater + Dance, and director of the Center for the Arts and Public Policy; he has written extens ively on the subject of theater management and the marketing of the arts. Sophia Krzys Acord serves as A ssociate Director of the Center for the Humanities in the Public Sphere; she holds a PhD in sociolog y, and an M. Res (Masters of Research Methodology); her specialist research includes the sociology of th e arts with an interest in digital libraries. The project will present three performances at three se parate venues and for three different types of audience. de Farber’s ‘Composing A Heart’ will be the first in the series of performances staged in November 2012 for students at the University of Florida (UF), especially those involved in Professor Marshall’s theater class. The students also will partic ipate in a pre-performance talk about the Smathers Libraries’ special collections, featuring the Isser and Rae Price Library of Judaica and the Belknap Performing Arts Collection in particular. Th e second performance in April 2013 will present a new dramatic production written, produced and acted by UF theater students under Marshall’s direction. The performance will take place at the Digital Worlds In stitute’s REVE, and it will involve a high-tech, multimedia, improvisational extravaganza based on objects from the Price Library of Judaica. This production will be performed to the UF community and th e local public. A second performance of ‘Composing A Heart’, this time a full production for clarinet and piano, featuring the award-winning composer Craig Ames, will take place in either late August or ear ly September 2013 at the Jewish Community Alliance (JCA) in Jacksonville with a targeted Jewish audien ce. The JCA is a central institution in Jacksonville Jewish life, and the performance will be timed to coinci de with a large family reunion of existing library donors. The performances and their effect on the diffe rent audiences will be surv eyed and analyzed by Acord. The importance of the Project This is a new and innovative idea, a collaborative endeavor leveraging existing resources that has so excited the imagination of the many partners involve d that they have already given time and resources to the project before it has been approved for funding. The potential benefits of this research project are many. In the first instance, as a curator looking for ways in which to shape and develop an important collection, particularly in relation to the acquisition of primary materials pertaining to the Florida Jewish experience, this seems an ideal way to maximize existing resources and target large groups at once. Although this project is mostly based on the Isser and Rae Price Library of Judaica collections, the project will provide documentation from which to create a mode l of alternative collection development that can be widely adopted by other collection curators. The audience surveys and feedb ack will provide the solid documentation needed to complete a proposal to th e IMLS National Leadership program and/or to the National Endowment for the Arts to further test and create the new collection development model. In addition, the project will bring benefits to th e university community. Th e audiences will learn more about library collections and what objects might be considered of value to scholarly research. Additionally, the theater students taking part in this project will be exposed to new ways of thinking about


objects and collections in relation to the arts; they w ill be involved in the creation of a new performance, and they will have the opportunity to engage in a unique research project at the University of Florida. Project comparison At present, no other library or museum appears to be e ngaged in marketing programs of this nature that target audiences in such a strategic fashion, nor is th ere any evidence of this type of project having been undertaken in the past. Individuals within libraries a nd museums are engaging with the arts, but they are not doing so with this level of deliberate intention, nor are they testing and surveying their endeavors. Current collection development research is focu sed on the potential of acquiring benefits from collaborative projects and in harnessing the use of social media. To-date, it seems that there are no library development plans that involve using the performing arts as this project proposes. Resources The resources needed will include time and labor fo r the Director of Communications, Barbara Hood to publicize the performances and to help the project team to devise marketing strategies that can be used as a future model. The PI will supply time and labor to create pre-performance presentations, to supply materials to assist the marketing and the perform ances themselves, to help organize the Jacksonville event, to oversee the project as a whole, and to par ticipate in the post-production oral and written analyses that will form the basis of a future proposal and paper. The project has received additional support from the curator of the Belknap Performing Arts Collection, Jim Liversidge, who is keen to participate in the fi rst performance. Liversidge will be supply about 10-15 minutes presentation time as well as the time to prep are this presentation. His time and labor although very kindly volunteered and greatly appreciated are t oo short to include as cost share. Our other partners, Marshall and Acord will have an honorarium paid to their respective cen ters in exchange of their time. It should be noted, however, that these partners are s upplying above and beyond th e value of the budgeted cost in terms of time invested and resources shared. Mo reover, they have engaged in a great deal of preplanning activities prior to the project’s expected start-date. The multi-media theater resources are being contributed by the Digital Worlds Institute at no additional cost. Bess de Farber is offering her performances without compensation. The Jewish Comm unity Alliance, Jacksonville, is keen to cosponsor a public performance of ‘Composing A Hear t’ and has promised to supply its venue and resources. Plan of action Timeframe Activities November 1-16, 2012 Prepare promotion for ‘Composing A Heart’ performance to UF students and faculty Research design and IRB application submission Prepare research materials Prepare special collections presentations Survey student audience members Student auditions and casting for theater performance November 16, 2012 ‘Composing A Heart’ performed for UF students Survey audience responses; analyze audience response November-January, 2013 Students work with Price Library materials to write and produce theater piece Devise marketing plan for student theater performance Script development for theater performance January – April Multi-media development for theater performance


Prepare marketing for theater piece Theater performance rehearsals April 2013 Theater piece performed at Digita l Worlds Institute’s REVE for campus and public Audience observed and surveyed May, 2013 Post-performance assessment Post-performance debriefing Prepare marketing for Jacksonville performance of Composing A Heart Work with JCA to prepare venue for performance Produce and distribute publicity materials for JCA event August or September, 2013 ‘Composing A Heart’ performed at the Jewish Community Alliance, Jacksonville September October Post-performance assessment Prepare a report on research results Prepare a plan for further funding and publication of results Collection ownership and copyright The materials to be used in the va rious performances belong to the Isser and Rae Price Library of Judaica and the Belknap Performing Arts Collection. Both coll ections are owned by the University of Florida. The materials selected for the theat er performance are either original primary sources, or they have already been digitized by the University of Florida Digital Libr ary and their exemption from copyright issues assessed. Measuring success Acord will devise an audience survey to bring to each performance with a pre-tested set of questions and a final open ended question. Contact details will be supplied in order to establish follow-up focus groups from each audience. She will attend all three performan ces to engage in participant observation. She will conduct interviews with the PI, Ke vin Marshall and the theater students. If the hypothesis is correct, research results will demonstrate a ch ange in the tested audiences: their knowledge of library collections and specific collections will increase; they will become aware of the value of materials for scholarly research and they will know the possibilities for contribu ting such materials that th ey or their families or friends possess. The surveys will look to measure the ways in which new connections between audiences and collections have been established. Dissemination of information about the project and sharing results The performances themselves will act as the first stag e in disseminating information about the project. The publicity generated for each performance will also broadcast information about the project. The publicity will include poste rs and notices sent to local institutions and media outlets as well as postings on the Judaica Library website and Facebook site, and the publicity generated by the Jewish Community Alliance in Jacksonville. In June 2013, Professor Mars hall plans to present a paper on the project at the International Society and the Arts Conference in Buda pest to share our findings with an international audience. At the end of the project, the results will be disseminated in the form of a paper or presentation to a library conference and the publication of a paper in a library journal. Long-term financial implications The plan of the project is to create a low-cost mode l to help libraries and museums build and shape their collections. Leveraging local available resources will be a welcome model in restricted budgetary times. Monetary donations to a collection could be an unintended outcome of this model as well.


Budget Narrative a) Explanation of expenses Consulting Services ($1200 each) : These token payments are to compensate the Center for the Humanities and the Public Sphere and the Center for the Arts and Public Policy for Dr. Sophia Krzys Acord’s and Professor Kevin Marshall’s time. The pa yments cover the creation and production of an original theater piece by Marshall, and the survey design, performance attendance, audience evaluation and analysis of results by Acord. Both partners also will engage in developing a future model of collection development. The amount of time and e ffort supplied by Marshall and Acord already far exceeds what they would normally be paid. The th ird project partner, de Farber, has waived any compensation for her time. Performance fee ($500) : A performance fee for $500 will be paid to pianist/composer Craig Ames for his participation in the Jacksonville performance of ‘Composing A Heart’. Stage management, production costs and venue rental fees ($700) : These fees may be necessary expenses related to the public performance of ‘Compos ing A Heart’ at the Jewish Community Alliance in Jacksonville. The amount of $700 includes $500 for space re ntal and production costs, and $200 for piano tuning. Travel Expenses ($168.52) : The travel expenses include the cost of travel ($60.52) to Jacksonville for the third performance (‘Composing A Heart’) in Sept ember 2013 and the cost of meals ($36 x 3) for the PI, de Farber, and Acord. The calculation was arrived at using state mileage allowances per daily travel and daily meals. b) Justification for expenses Consulting Services ($1200 each) : Marshall’s services are key to the success of this project. He is an expert in arts and community development and civi c engagement. In addition to producing and presenting the theater production based on immigrant stories from th e Price Library, he will help develop a formula for marketing programs that engage audiences in colle ction development. Acord is a crucial partner for designing and assessing the research and its results. Her expe rtise in the field of the sociology of the arts combined with her passion for libraries makes her an indispensible partner. de Farber’s experience in engaging audiences through music and stories is a key element in this project. Performance fee ($500) : Ames performance in the Jacksonville ve nue is critical to the success of this element of the project. The size of the venue and potential audience dictate the need for the full performance of ‘Composing A Heart’, which includ es piano. His fee includes travel expenses. Stage management, production costs and venue rental fees ($700) : The venue for the third performance will be the Jewish Community Alliance in Jacksonville. This venue provides a central location for Jacksonville Jewish activities. It is expected that there will be expenses related to rental, stage management, production costs such as printed matter and advertisements, as well as piano tuning. Travel Expenses ($168.52) : Travel expenses are related to the third performance in Jacksonville. c) PI’s role : The PI will match the effort supplied by the three project partners by supplying her time and expertise assisting with creating the theater perfo rmance. She will create a presentation for the two performances of ‘Composing a Heart’. She will oversee the progress of the project and help analyze its results. She will play a key role in devisi ng a new model of collection development. d) Cost share : The cost share provided by the Libraries’ Director of Communications, Barbara Hood, will include 2% of her working time to market and publici ze the three performances. In addition, she will be involved in meetings to create a marketing strategy for these performances and for the future model.


04-Budget_Form_2012-2013-Posted.xlsx, 08/15/2012 Please add lines to table as needed. If you need help completing this form, please contact Bess de Farber, PH# 273-2519. 1. Salaries and Wages (no fringe benefits required) Name of PersonSalary times % of effortGrant FundsCost ShareTotal Jefferson, Rebecca4$0.00$3,301.76$3,301.76 Hood, Barbara2$0.00$1,136.96$1,136.96 Kevin Marshall$1,200.00$0.00$1,200.00 Sophia Krzys Acord$1,200.00$0.00$1,200.00 $0.00$0.00$0.00 SUBTOTAL $2,400.00$4,438.72$6,838.72 2. Equipment ItemQuantity times CostGrant FundsCost ShareTotal $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 SUBTOTAL $0.00$0.00$0.00 3. Supplies ItemQuantity times CostGrant FundsCost ShareTotal $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 SUBTOTAL $0.00$0.00$0.00 4. Travel From/To# of people/# of daysGrant FundsCost ShareTotal Gainesville/Jacksonville3 people/1 day$168.52$0.00$168.52 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 SUBTOTAL $168.52$0.00$168.52 5. Other (Vendor costs, etc. Provide detail in Budget Narrative section.) ItemQuantity times costGrant FundsCost ShareTotal Performance fee (Craig Ames)One piano performance + tra v $500.00$0.00$500.00 Stage management, production c One performance at Jackson v $700.00$0.00$700.00 $0.00$0.00$0.00 $0.00$0.00$0.00 $0.00$0.00$0.00 SUBTOTAL $1,200.00$0.00$1,200.00 Grant FundsCost ShareTotal Total Direct Costs (add subtotals of items 1-5) $3,768.52$4,438.72$8,207.24 Mini Grant Budget Form 2012-2013 Page 1 of 1


The Foundation for The Gator Nation An Equal Opportunity Institution George A. Smathers Libraries 208 Smathers Library Department of Special and Area Studies Collectio ns PO Box 117005 Gainesville, FL 326117005 352-392-9075 352-846-2746 – FAX www.uflib.ufl.edu/specMS October 11, 2012 Dear Rebecca, After meeting with you and Bess de Farber to discuss your PERFORMING ARTS APPROACH TO COLLECTION DEVELOPMENT proposal, I write this letter to eagerly endorse this project as a refreshing and exciting take on outreach and informa tional presentations for students, st aff and the University of Florida community. In a period of economic instability and limited budget funding, you and Bess have crafted an inexpensive multidimensional update to the basic “show and tell” presentatio n of collection ephemera exhibited to library users and potential collection donors. The use of the oftentimes hidden talents of library and campus –wide staff and students to showcase (sometimes hidden and underexposed) collec tions will stimulate interest and encourage usage and possible collection donations to the Smathers Libraries. As a result of a series of ongoing POPULAR CULTUR E COLLECTION outreach presentations, such as the Oak Hammock Monday Morning Movie series, I have had the ho nor and privilege to accept a number of collection additions from eager and inspired audience members who, until then, were unaware of the treasures housed in the Department of Special and Area Studies. Many of my colleagues have enjoyed the same gratifying experience after introducing material s to cam pus and off-campus gatherings. Your creative proposal to broaden our current approach to presentation is exhilarating and I have offered to participate in this worthy motivational project. I belie ve if this simple, yet groundbreaking, blueprint is implemented it will deliver a truly positive response from students, staff and patrons. Sincerely, Jim Liversi dge Curator Popular Cul ture Collections (352) 273 2759


Hi Rebecca Yes, we would like to cosponsor this event with you. Please give me some suggestions as to dates so I can make sure our auditorium is available. Looking forward to working with you. Thelma Thelma Nied Cultural Arts Director Jewish Community Alliance 8505 San Jose Blvd Jacksonville, FL 32217 Phone 904 730 2100, x 227 Fax 904 730 2444


Dear Rebecca, Please accept this message confirming my participatio n in your proposed mini grant project. I agree to work with the project in presenting two performances of Composing a Heart one on campus at UF, and another in Jacksonville. The second performance will include award winning theatre composer, arranger and pianist, Craig Ames who composed the 50-mi nute work in 1996, which was commissioned for a contemporary arts festival in Lake Worth. Craig lives in Boca Raton, Florida. I look forward to sharing my families’ immigrant stories and original music with new audiences in North Florida. Composing a Heart has been performed in a variety of theatre settings in South Florida and also on National Public Radio, and at Steinway Hall in NY. Good luck with your application. Best, Bess de Farber


The Foundation of the Gator Nation An Equal Opportunity Institution College of Liberal Arts and Sciences Center for the Humanities and the Public Sphere 200 Walker Hall P.O. Box 118030 Gainesville, FL 32611 tel. 352.392.0796 fax 352.392-5378 www.humanities.ufl.edu 12 October 2012 Dr. Rebecca Jefferson Head, Price Library of Judaica George A. Smathers Libraries University of Florida Gainesville, FL. 32611-7010 Dear Rebecca, I am happy to provide a letter of support for your gr ant proposal, “A Performing Arts Approach to Collection Development,” submitted to the UF Li braries MiniGrant Competition. The project, a collaboration with Professor Ke vin Marshall in the School of Th eatre and Dance to develop an original theatrical piece based on items from the I sser and Rae Price Library of Judaica, will allow us to explore exciting frontiers in suppor ting library archives and collections. I am involved in the project as the external eval uator. As a social scie ntist with a Ph.D.-level background in the sociology of the arts, I have conducted prior research on the social impacts of applied theatre and dramatic genres (I teach an undergradu ate course in this area at UF, entitled “Sociology of the Arts”.) For this project, I have worked with you to design a multi-pronged evaluation to examine the production and audience dimensions of all three performances proposed under the auspices of this grant proposal. Firs t, I will use surveys and focus groups (or phone interviews) to gauge audience reactions to each performance (immediately following the performance, and several weeks later) to measur e if and precisely how the dramatic intervention had an effect on audience member s’ relationship to the Price Libr ary collection and interest in donating to the collection (either materials or fi nancial support). I will al so conduct end-of-grant interviews with yourself, Prof. Ma rshall, and any other key direct ors of the project to understand how project outcomes related to your initial go als. Finally, I will conduc t an observation session and focus group with Prof. Marshall’s class to ex amine the process of working dramatically with archival materials and to collect information on how this process can be facilitated in future projects. The final written evaluation will provide th ree kinds of information: (1) an assessment of how well the project achieved the go al of increased donations to th e Price Library; (2) a detailed summary of how performance can create a deeper connection to archival objects, personal and family histories, and lay pr actices of community knowledge-making; and (3) recommendations that can be used to improve the dramatic piece and process of theatre-lib rary collaboration for future projects or performances. To confirm: I am committed to working with this project at all stages from submitting the IRB proposal, evaluati ng all three performances, and producing a final evaluation report.


This project has the potential to achieve high im pact in several fields. It will enable theatre practitioners to probe new ways of building hist orical objects and consid erations of audience demographics into dramatic work. It will enable library, archive, and museum professionals to explore new terrains and vehicl es for building community suppor t and engagement with their resources and collections. It will info rm moves towards the public humanities writ large by suggesting ways in which deeply felt relationships to history, race, cultural identity, and migration can be mobilized to build conversations betw een scholars and lay expe rtise; the evaluation components directed at understanding the unintende d outcomes of this proj ect will, I hope, lay the groundwork for future projects incorporating library archives, humanities researchers, and theatre faculty in advancing publicly-engaged work in the humanities disciplines at UF. Finally, in my home field of sociology, I plan to collaborate with the project di rectors to produce a paper for a sociology audience to examine the individual and social interac tion of audience identity and historical materials as mediated through theatre. Thank you for your consideration of th is important project. If I can be of further assistance, please feel free to contact me. Best regards, Sophia Krzys Acord, Ph.D. Associate Director, Center for the Humanities and the Public Sphere Lecturer, Department of So ciology and Criminology & Law skacord@ufl.edu


College of Fine Arts School of Theatre and Dance PO Box 115900 Gainesville, FL 32611-5800 352-273-0500 352-392-5114 Fax October 12, 2012 Dear Grants Selection Committee: I am very excited to be involved with the Isse r and Rae Price Library of Judaica in cooperation with Dr. Rebecca Jefferson on our project “A Performing Arts Approach to Collection Development.” As Director of the Center for Arts and Public Policy I was naturally drawn to this project because of my research interest in its impact using th e arts for community and civic engagement. In this project we will be testing the theory that a performance will create a deeper connection to the objects in the library and th rough the objects to th e entire Price Library collection. We hope that our work will lead to an increase in the number of donations to the Judaica Library collection. My involvement in the project begins shortly w ith the casting process for a devised piece that is based on primary research materials in the Price Library. Once cast, the actors will read original works from the Price Library and then develop these stories for theatrical presentation. These are first person accounts of immigrants that I am sure will resonate with our ac tors and audience as well. I have engaged faculty and students from th e UF Digital Worlds Institute to work with my cast and together we will create a multimedia pr esentation for public performance in April. The goal is to so engage the audien ce and community that they will in turn from their own private collections donate important primary rese arch material to the Price Library. This project has the potential to become a best practices exampl e of how libraries can use their own collection’s primary resources as fuel for the creation of public performances to develop additions to the library’s collection. I am committed to working with this project from casting, scri pt development, preproduction planning and finally the performances themselves. I also plan to pr esent a paper on th is experience at the International Soci ety and the Arts Conference in June 2013 in Budapest to share our findings with an international audience. I appreciate your help in maki ng this a project a reality, Sincerely, Kevin Marshall Professor, Director, Center for Arts and Public Policy


Appendix C: proposal narrative references and notes 1. The ways in which museums have engaged with audiences is reported in ‘Opening the Door to the Entire Community: How Museums are Using Perm anent Collections to Engage Audiences, A report by the Lila Wallace-Reader’s Digest Fund’, The Wallace F oundation, November 1998 ( http://www.wallacefoundation. org/knowledge-center/audience-development-for-thearts/strategies-for-expanding-audiences/Documents/Permanent-Collections-to-EngageAudiences.pdf ). 2. The transformative ability of the performing arts is documented in ‘Making Sense of Audience Engagement, Volume I: a critical assessment of effo rts of nonprofit arts organizations to engage audiences and visitors in deeper and more impact ful arts experiences’, Alan S. Brown & Rebecca Ratzin, The San Francisco Foundation, 2011 ( http://www.sff.org/about/publications/documentspublications/Making_Sense_of_Audience_Engagement.pdf ). 3. An example page from Reverand Benjamin Sa fer’s notebook providing evidence of his acculturation can be viewed here: http://ufdc.ufl.edu/UF00103127/00003/5 4. Jewish Jacksonville online exhibit: http://exhibits.uflib.ufl.edu/jewishjacksonville/ 5. Bess de Farber’s website: http://www.clarinetstories.com/content/composing-heart 6. The promotional brochure for the co-sponsor ed performance of ‘Composing A Heart’ in November 2011 featured a description of the Price Library. The brochure can be seen here: http://ufdcimages.uflib.ufl.edu/IR/00/00/06/89/00001/composing_a_heart.pdf 7. Kevin Marshall’s brief biography: http://www.arts.ufl.edu/bio.aspx?PID=81 8. Sophia Krzys Acord’s brief biography: http://www.humanities.ufl.edu/Bios/Acord.html 9. The Digital Worlds Institute REVE: http://www.digitalworlds.ufl.edu/facilities/reve/ 10. The venue for the third performance (Composing a Heart for clarinet and piano) will be the Jewish Community Alliance, Jacksonville: http://www.jcajax.org The JCA hosts many cultural events of interest to the Jacksonville community and the greater Jacksonville community at-large: http://www.jcajax.org/index.php?submenu=cultu ralarts&src=gendocs&ref=Arts&category=Main


Mini Grant Proposal A Performing Arts Approach to Collectio n Development – Rebecca Jefferson, PI Interview questions developed by the Grants Management Committee 1. Compensating the Centers: How was the $1,200 fee arrived at? Professor Kevin Marshall and Dr Sophia Krzys-Acord agreed th at this seemed a reasonable amount for compensation.The team inquired about past honoraria for work accomplished in mini grant projects by other professo rs. The comparison was made with the Arab Immigrant oral history project for compensating Dr. Al-Hadi $ 1,000 for oral history interview and translation services. Also, the cost for assessment services for CAPES through the College of Education for the Scholarly Communication and Cooperative Ex tension project tota led $1,500. The proposed project entails more effort than either of these abovementioned pr ojects, but it still manages to stay within previous costs for c onsulting services obtained on campus. The Centers themselves will incur expenses re lated to executing the project and evaluation beyond effort, including costumes, technical needs, assistance w ith evaluation and coordination etc. 2. Has Kevin Marshall been accepted to present a paper or is this a proposed venue for presentation? The venue is proposed, but Profe ssor Marshall has twice presented papers at this international conference. Every proposal he has submitted previ ously to this conference has been accepted, and there is every indication that this paper will be approved too, particularly as this is a multidisciplinary, collaborative projec t. Marshall has the travel f unds already secured. Other venues for exposing this project will also be explored and could include a presentation for the ALA annual conference, and a panel for the Imagining America conference. 3. Sophia Acord is going to measure the impact of the emotional connections to objects, but is there any plan to measure the impact of the future use of or donations to the collection? We are hoping to shape the collection by targeting particular audiences. The Price Library is keen to add more archival and manuscript coll ections, especially ones from Florida, to the Collection. Florida has the thir d largest Jewish population in the United States, and yet no comprehensive history of this ethnic communi ty has been written. This history will be of growing interest in the coming decades, and the resources by which to c onstruct a definitive history will be keenly sought.


The Price Library will continue to measure the impact of collection donations related to the history of Florida’s Jewry, but this analysis will not take place within the confines of this current project grant period. Dr. Krzys-Acord confirms that the evaluation tools will measure the impact of the dramatic presentations and interventions in people’s feelings about donati ng to or using the collections. This will be a dramatic departure from the stan dard method of introducing audiences to library collections. The usual way for the public to interact with objects is through exhibits, tours and/or presentations. Thus, the object is seen throu gh several layers of mediation created by the curator’s static interpretive presentation. The new method of collection development will reduce these layers and, by using performa nce, will create a direct, emoti onal link from object to viewer. But, in order to assess this very pragmatic aim, the evaluation must necessarily explore the mechanisms by which this impact is achieved (namely: the emotional and other connections people develop to stories, the objects that help to tell these stories, and how these can lead to a new relationship to the collecti ons that informs future activity as a donor or user). The proposed project does not simply aim to give an input (the performance) a nd measure an output (the future use of or donations to the collection) Rather, we also seek to understand how the input causes a particular output among a certain target population so as to provide guidi ng lessons as to ‘what works’ for connecting people to archives that may be transferable to other contexts (such as the Panama Canal Collection, etc.). 4. Will the project team develop a mechan ism to measure long-term impact of performances? This expectation is outside of the remit of a modest grant. But, with that said, the project PI does intend to continue to keep an eye out for the lasting ‘ech oes’ of the performances among the collection’s donors and audiences. Indeed, the PI will develop a new way of dealing with donations. She will ask each donor what inspired th em to give and she will ask them how they had heard of the Price Library. These data on why people donate to the collection that could be analyzed on a yearly basis with regards to the project findings. The PI will also keep a Word document journal where every instance of when someone mentions the performances, outside of the granting period, is recorded and/or inquiries can be made with future donors or audiences whether they have heard of the grant-funded performances. 5. There is a mention of second performance taki ng place at DWI.But the proposal lacks supporting documentation for DWI’s involveme nt. Is DWI being compensated? Has the DWI’s leadership agreed to contribute services to the project?


Patrick Pagano, faculty member in Digital Worl ds has agreed for two of his classes being involved in the Digital performance and multi-media storyt elling. The performance fits the creative research agendas of bot h faculty members and no extra funding will be needed. Please see attached email from Mr. Pagano. From: Pagano, Patrick Sent: Monday, October 29, 2012 5:07 PM To: Marshall,Kevin A Cc: Jefferson, Rebecca Subject: project specifics Hello Rebecca, Kevin Marshall asked me to email you regarding the devised work we will be developing next semester. Students in my Entertainment Technology class will be using it as a project for learning to produce a digital media live performance. In the class, they learn about, make, design and execute digital live performances. Usually i have them produce a live show that features, music, video, 3D animation and digital Scenery, so when Kevin approached me about the piece i thought it would be a wonderful real time exercise with such a wonderful potential for iteration and expansion. In addition, students hopefully from both departments [Digital Worlds and Theatre and Dance] will be enrolling in the Digital Convergence class which allows for students with specific career trajectories [Theatre/Dance/Design/Engineering etc..] to converge it with an aspect of Digital Media research. This will provide us a constant meeting time and a space to work, develop and devise the work. My areas of expertise is focused in advanced media systems, live interactive technologies and digital design and digital projection design for theatrical performance and dance, so we felt this might be a really nice area for us all to converge and serve not only our college but our University with this innovative piece. Please let me know what other information you may need, Sincerely, Patrick Pagano B.S, M.F.A Assistant in Digital Arts and Science Digital Worlds Institute University of Florida, USA (352)294 202