8. Tomorrow is Another Day
HOW LONG WILL THIS LAST?
This Is the Future of the Pandemic | New York Times
The first wave of Covid-19 is not over – but how might a second look? | The Guardian
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WHAT IS HAPPENING OUT THERE?
PROGNOSTICATIONS
Royal Opera House says it will ‘not last beyond Autumn’ with current reserves | Classic fm
When will the music start again? | Financial Times
The concert halls and opera houses reopening after coronavirus lockdown | Classic fm
90% of the world’s museums were closed..., and 1 in 8 may never reopen | Associated Press
What’s to become of Philadelphia’s... arts and culture,...? | The Philadelphia Inquirer
Upstate Will Be First to Test New York’s Arts Appetite | New York Times
Sobering Future for Singers: "No Vaccine, No Safe Public Singing" | The Middle Class Artist
California suggests no singing ...for... places of worship | CNN
"Screw The Audience!" former Executive Director... Speaks Out | The Dance Enthusiast
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ECONOMIC & JOBS IMPACTS
Americans for the Arts: Organizational Dashboard and Artist & Creative Worker Dashboard
McKinsey & Co. Employment Impact Tracker​ and Effect on minority-owned small businesses
CANCELLATION TRACKERS
Alliance of Artists Communities Residency Cancellations + Postponements
Opera America Company Closures (scroll to end of linked page)
NAIA Art Show Cancellation Tracker
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HOW CAN WE PLAN FOR THE FUTURE?
SCENARIO & FINANCIAL TOOLS
Nonprofit Scenario Planning in the COVID-19 Pandemic | The Bridgespan Group
Financial Tools from the Nonprofit Finance Fund:
Cash Flow Projection & User Guide
Scenario Template & User Guide
Performing Arts Readiness: Loss of Income Calculator
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ADVOCACY & THRIVING WITH CHANGE
Music Cities Resilience Handbook | Sound Diplomacy
Performance Buildings in a Post-Pandemic World | Charcoal Blue Theatrical Innovation​
The Long Runway to Return: The Role of Anchor Cultural Institutions | AMS
In it for the Long Haul | SMU DataArts
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OPPORTUNITIES TO REIMAGINE
Now is the time to think about experience mapping. What experience are you committed to providing? Dust off A New Framework for Building Participation in the Arts, especially chapters 3 and 4. What experience are you creating for creatives, audiences, and donors? What does that allow or demand with new safety considerations?
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