LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track

Baguio City National High School

SENIOR HIGH SCHOOL
Arts and Design Track
Second Semester - Q3, Week 1
LEADERSHIP and MANAGEMENT in the ARTS ( LM )

Learning Activity Sheet : THE SELF IN THE ARTS

As Confucius once said, “Do a job you love, and you will never have to work a day in your life“.

STUDENT NAME:________________________________ DATE: _____________________

SECTION: ______________________________________ TEACHER: _________________

General Instructions:
• Read the concepts and instructions carefully before doing the activities.
• Keep these activity sheets NEAT and CLEAN. Use separate sheets of papers for your drafts before writing your final
answers here. Use black or blue ink only in writing your answers.
• As much as possible observe safety and hygiene procedures in answering these activity sheets.
Reference: Leadership and Management in the Arts. Boquiren, L., 2019, Vibal Group, Inc. (Online reference:
see online source)

Learning Standards Day Score Earned

TOTAL SCORES
Performance Standards: WW PT Score
Makes a self-assessment checklist that 1 Act. 1: Reading Activity
WW

measures personal strength and Act. 2: Self assessment 5

2
weaknesses. Act. 3: Q & A 10
Content Standards: Demonstrates 3 Act.1: SWOT 10
PT

values towards arts discipline and 4 Act 2: Personali-TREE 8

integrity.

About the Learning Materials

This learning materials are prepared to provide early training in the arts by inspiring our young to sustain
the arts regardless they become arts managers, consumers and be a part of the academic institution in the country.
Thus encouraging actual hands on approach that learners must perform even at home.

MELCS: Makes a self -assessment checklist that measures personal strength and weaknesses. A_LMA12-IIIa-1
to 4.
This activity sheet directs you on the learning standards you must develop. In completion of this activity
sheet, you must be able to:
- discuss the personal development on knowing the self;
- explain abd discover self according human nature, personalities and tendencies;
- integrate self assessment that measures personal strength and weakness.

DAY 1: Activity 1: Reading Activity

( See attached glossary for the definition of basic terms in arts management. You may use the glossary of terms
basically throughout the course.)
“ An Arts manager is a visionalry, vital to the growth and survival of the art scene.” Arts management

About the lesson

This lesson focuses on personal awareness in relation to the essence of arts management. Personal awareness
requires knowledge of the commitments arts managers must make in relation to the self. It explores necessary
personal traits that are important in managing the arts. It will help the student recognize and identify his or her
personal strengths and weakness. It will also show the student how individual traits such as discipline and
integrity, among other will impact one’s work as an arts manager. The students must evaluate first his or her
capacity to pursue such commitments.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track

Arts management is framed by three commitments:

The commitment to excellence and artistic integrity. It means relentlessly pursuing one’s vision in the arts as a
leader and tastemaker allowing the arts manager to initiate creative partnerships and nurturing a local’s
culture that will awaken the public sense of heritage and allowing them to be vigilant in the protection of their
own heritage.
The commitment to accessibility and audience development. It is a commitment to bridge Artists and public
requiring the needed core competencies for the creation of projects and the development of programs such as
one’s oral and written communication skills must develop for reaching out to the public.
The commitment to public accountability and cost effectiveness. It is a commitment to become steward of the
arts. An arts manager has the willingness to be accountable to the public, use resources efficiently, and be
updated to one’s core competencies to become better arts manager and to sustain the arts. It requires
enormous discipline from anyone who wants to venture into the arts as a leader and being accountable in
using resources efficiently are the bases of stewardship.

➢ An arts manager must possess several characteristics such as passion, vision, innovation, courage to take
risks, willingness to establish networks, and leadership.
➢ An arts manager specifically must have a passion for the arts. He must take genuine interest in artists and
their creations. Such vision for the arts involves creating interventions to inspire change.
➢ An arts manager’s innovation may generate livelihood for individual artists, and communities of artisans.
➢ An arts manager made sure that right people must be contacted and tapped and established.
➢ An arts manager must be able to lead others, whether an artists or other people involved in the field.
➢ An arts manager is driven by purpose to make sure that excellence in the arts will be upheld, audiences
will have access to artists and their creations, and to flourish the arts scenes.

What are the common roadblocks that an arts manager may encounter towards success?
- Lack of resources. These are usually the funding or the availability of materials for starting projects and
to run the operations of organizations. Lack of money may be addressed through seeking sponsorships,
applying for grants, selling pre-loved items, crowdsourcing, or even practicing the principle of saving and
spending with one’s means.
- Setbacks related to social connections. Its not only have to do something with how other people see the
arts manager but how they think others see them. People of poor sense of self-worth often have problems
in approaching and connecting with others. To overcome this is to develop one’s self -esteem and
confidence by harnessing one’s skills and knowledge. One feels confident when one knows what he or
she is doing.
- Setbacks related to growth. This is to how the arts managers sees themselves as advancing hierarchies of
value in the arts scene.
- Family circumstances. Parents chooses their child to seek another career instead of venturing in the arts
scene.

The Color Personalities

Color personalities as introduced by Armando”Bing” Lao. These color personalities are not meant to categorize
people but rather meant to help one understand human nature and tendencies.
Gray. Personalities are very analytical. They love to assess and measure. They are comfortable with
structures, channels, and detailed process. They enjoy studying and doing research, and good at
strategizing. Hardworking and focused. When problem arise, they can manage problems
objectively. They can rationalize circumstances and solve crises systematically. They are process-
oriented, at time to a fault, and they tend to value tasks more than people.
Yellow. They are fun-loving individuals. They like to explore. Not comfortable with structures,
channels, and detailed processes. They are often the life of the part and easily build rapport with
others. They are very poor at time management and often lack of focus. Their minds are bound to
change abruptly. They have difficulty enforcing discipline as they lack it themselves.
Red. Personalities are born leaders. They like being in charge and the authority figure, the catalyst,
and /or the kick-starter. They are not very good at being followers. They have problem listening to
corrections and they do not appreciate being reprimanded.
Green. Personalities are loyal to a cause. Loyal to organizations, or loyal to community-based
beliefs. They are also very loyal followers. They tend to follow blindly.
Violet. Personalities like living by virtue. They take comfort in the idea that they are doing good to
others. They are also very honest about finances and always prefer transparency. They tend to be
self-righteous.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
Orange. Personalities are charismatic. They make good politicians. They are extroverts and love
being in the limelight. They like to network, meet new people, and gain contacts. They go after what
they want at any cost but often do things for personal gain.
Blue. Personalities are drawn to the idea of helping others. It is a gift and an impulse, like second
nature. They are nurturing. They tend to dole out instead of allowing others to be self-sufficient.
Brown. Personalities are resilient. They are hardworking and resourceful. They can also be
freeloaders and dependent on others.
Black. Personalities are very creative. Their outputs are personalized and unique. They are in love
with the idea of being different and are often mis understood. They can find creative solutions; they
tend to disregard rules and have very sensitive egos.
White. Personalities like being neutral. They will adapt to anyone. They can be very indecisive.

DAY 2: Activity 2: Self assessment Checklist

(The Personal Interest Self-check).This simple test will help you gain some self awareness. Assign a score to each
item that best describes you. The highest is 3, followed by 2, and 1.
A B C
1. Which activity interests you most?
A. Tinkering with objects
B. Talking to people about fixing objects.
C. Thinking and planning where to put objects.
2. Which skill would you give time personally improve?
A. Arts and crafts
B. Organizing a team
C. Researching and writing
3. Which activity would you rather do?
A. Arranging books
B. Talking to a friend about a book
C. Reading books
4. Which would you most enjoy doing?
A. Fixing your house
B. Coaching peers
C. Writing your thoughts on post-its
5. Which of these is the most important to you?
A. Sports
B. Language
C. Philosophy
6. Which skill can you learn with the least effort?
A. Handicraft
B. Leading others
C. Language and theoretical reasoning
7. How do you like to work?
A. Alone, using tools and materials
B. In a group, collaborating with others
C. Alone, using ideas and theories
8. Which is your best skill?
A. Physical skill
B. Communication skills
C. Creative thinking
TOTAL
If the A’s got the highest score: you are the type who works with objects.
If the B’s did: you like dealing with people.
If the C’s did: it means you like working with ideas.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
WRITTEN WORK
Activity 3: Question and Answer. Answer the following:

1. What dominant color personality would you rather have? Explain your answer. ( 5 points )
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

2. How important are the following in building a career in arts management? Rate them from scale of 1-5, with
1 highest. Explain your rating. ( 5 points )

Resources Social Connections Growth Family well-being

Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

PERFORMANCE TASK :
DAY 3: Activity 1: SWOT SELF ASSESSMENT ANALYSIS

General Self Mastery – Knowing the SELF

Online source : https://www.mindtools.com/pages/article/newTMC_05_1.htm

You are most likely to succeed in life if you use your talents to their fullest extent. Make the most of your talents
and opportunities. Similarly, you'll suffer fewer problems if you recognize what your weaknesses are, and if you
manage these weaknesses so that they don't matter in the work you do. It also helps you uncover opportunities
around you, understand your weaknesses, so you can manage and eliminate threats that might otherwise hurt your
ability to move forward.

Activity 2: REFLECT yourself using the SWOT framework and further develop the specialized talents and
abilities you need to advance your career and help you achieve your personal goals in life. Below are the given
strengths, weaknesses, opportunities, and threats in analyzing self assessment. Write your reflections on the
spaces provided in Table 1.

STRENGTHS
What advantages do you have that others don't have (for example, skills, certifications, education, or
connections)?
What do you do better than anyone else? What personal resources can you access?

What do other people (and your boss, in particular) see as your strengths?

Which of your achievements are you most proud of?

What values do you believe in that others fail to exhibit?

Are you part of a network that no one else is involved in? If so, what connections do you have with influential
people?
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
Consider this from your own perspective, and from the point of view of the people around you. And don't be
modest or shy – be as objective as you can. Knowing and using your strengths can make you happier and more
fulfilled at work.

And if you still have any difficulty identifying your strengths, write down a list of your personal characteristics.
Some of these will hopefully be strengths!
Tip: Think about your strengths in relation to the people around you. For example, if you're a great
mathematician and the people around you are also great at math, then this is not likely to be a strength in your
current role – it may be a necessity.

WEAKNESSES
What tasks do you usually avoid because you don't feel confident doing them?
What will the people around you see as your weaknesses?
Are you completely confident in your education and skills training? If not, where are you weakest?
What are your negative work habits (for example, are you often late, are you disorganized, do you have a short
temper, or are you poor at handling stress)?
Do you have personality traits that hold you back in your field? For instance, if you have to conduct meetings
on a regular basis, a fear of public speaking would be a major weakness.

Again, consider this from a personal/internal perspective and an external perspective. Do other people see
weaknesses that you don't see?
Do co-workers consistently outperform you in key areas? Be realistic – it's best to face any unpleasant truths
as soon as possible.

OPPORTUNITIES
What new technology can help you? Or can you get help from others or from people via the internet?

Is your industry growing? If so, how can you take advantage of the current market?

Do you have a network of strategic contacts to help you, or offer good advice?

What trends (management or otherwise) do you see in your company, and how can you take advantage of
them?

Are any of your competitors failing to do something important? If so, can you take advantage of their
mistakes?

Is there a need in your company or industry that no one is filling?

Do your customers or vendors complain about something in your company? If so, could you create an
opportunity by offering a solution?

You might find useful opportunities in the following:

✓ Networking art events, educational classes, or conferences.
✓ A colleague going on an extended leave. Could you take on some of this person's projects to gain
experience?
✓ A new role or project that forces you to learn new skills, like art resource person.
✓ A company expansion or acquisition. Do you have specific skills that could help with other processss?
✓ Also, importantly, look at your strengths, and ask yourself whether these open up any opportunities – and
look at your weaknesses, and ask yourself whether you could open up opportunities by eliminating those
weaknesses.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
THREATS : Performing this analysis will often provide key information – it can point out what needs to be done
and put problems into perspective.

What obstacles do you currently face at work? Does changing technology threaten your position?

Could any of your weaknesses lead to threats? Is your job (or the demand for the things you do) changing?

Are any of your colleagues competing with you for projects or roles?

TABLE 1: SWOT ( You may use the back of this paper for writing. )
DIRECTION. To perform the SWOT analysis, write down answers from the SWOT guide questions as stated above. This
will help you analyze your strengths and weaknesses as well as the opportunities and threats that you face. It will help you
focus on your strengths, minimize your weaknesses, and take the greatest possible advantage of opportunities available to
you.
Strengths Weaknesses

Opportunities Threats

Writing Activity Rubrics

Skills 10 8 5 3 1
Demonstrate a conscious and Demonstrate a Demonstrate a basic Demonstrate a limited Demonstrate little of
thorough understanding of thoughtful understanding understanding of the understanding of the no understanding of
the writing prompt and the of the writing prompt writing prompt and writing prompt and the writing prompt and
Depth of
subject matter. This writing and the subject matter. the subject matter. subject matter. This subject matter. This
Reflection
can be used as an example writing needs revision. writing needs revision.
for other students.
Neat and readable.
TOTAL

DAY 4 : Activity 2: My Personali-tree.

You will need the following materials: ( drawing paper or you may use the drawing space provided, coloring
materials )
Direction: Answer the guide questions stated below. These are the guided instructions in creating your own
Personali-tree
1. What is your dominant color personality? Draw a tree using this color. In the roots, draw objects and
symbols that represents your background in the family, which province you are from, your parents, and so
on.
2. What factors influenced you to pursue a career in the arts? For the trunk, draw symbols that represent
how you came up with decision.
3. Put three sturdy branches to represent the three commitments in arts management. Among these, decide
which one made the most impact on you and put it at the center.
4. For the leaves, label them according to your dreams and aspirations. The colors of your leaves must
represent the personality traits you would want to develop more than the others.
5. What accomplishments are you most proud of? Draw fruits to symbolize these.
6. What are some setbacks that you feel you are going through right now? Draw falling fruits to represent
the setbacks you are experiencing.
7. What do you love doing? Put symbols that represent these, like flowers that grow around the tree.
8. How do you define success in the art scene? Put symbols that represent them on the ground where your
tree grows.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track

My PERSONALI-TREE

Parent’s /Teacher’s remarks / notes / feedback:

________________________________________________________________________________________
________________________________________________________________________________________
_______________________________________________________________________________________.

___________________________
Parent’s Signature over Printed Name
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track

Glossary
Advertising. A paid form of communication to induce the recipient to take action.
Aesthetic sensitivity. Genuine appreciation of the art form one wishes to specialize in; it involves the ability to
think criticially and evaluate artworks.
Artisan. A skilled person who creates crafts through weaving, pottery, etc.
Art dealer. Somebody who facilitates the sale of art objects online or through personal contacts.
Art institutions. Platforms by which artists and art forms circulate.
Arts manager. A leader or policy maker of an art organization, institution, or creative enterprise.
Arts market. A domain that includes the fine arts, music, theater, architecture, and allied disciplines that have
long exixted as local, regional, or national level entities that appeal to a specific audience’s experiences,
belief, historical context, and language.
Art restorer. A person who is trained in handling and restoration of artworks and heritage.
Arts program. A planned series of projects based on an artform or several artforms.
Artist run initiative. A project or organization run by one or more artists to present their works and also the
works of other artsists; not completely independent from the market.
Artistic director. Acts an executive and leads the administrative personnel in an organization.
Auction. An occasional event meant for disposing high-value items in a collection.
Audit. A complete systematic examination of an organization’s or individual’s financial records.
Balance sheet. An important document that informs the art manager about the financial health of the organization
or project.
Bureaucracy decisions. Pertains to rationalized in an organization.
Collect manager. In charge of the collections of a museum or a gallery with large inventory of artworks.
Commission. To acquire the services of an artist for a specific project.
Connoisseurship. A person knowledgeable about the art form and a keen follower of its development.
Conservationist. A staff member or consultant trained in art handling and the preventive conservation of
artworks.
Consultative leader. The type of leader that gathers ideas from people before making decision.
Corporate support. An exchange of capital, where the brand of a corporate entity becomes attached to the
symbolic value of art, in exchange for monetary resources.
Cross-displinal. A project r venture in which more than one art or discipline is involved.
Crossover. A change of the art form championed by an institution, community, or art market venture
Curator. A person who puts together and manages art collection, usually from the academe, trained in the field of
museology or art history, and knowledgeable in art theory and its adjacent fields.
Decoding. The process through which the receiver make sense of the artist’s or organization’s ( sender)
transmitted ideas ( message).
Delineating. To present precisely to the audiences; suggest that there is always a limitation to what every event
can provide.
Depicting. To describe something in words or pictures.
Design thinking. A mentod of creating innovations by getting to know the users or audiences.
Dictatorship. A type of management or leadership in which absolute power comes from one person.
Digital tool. Used for monitoring, storing, and communicating.
Direct activity costs. Variable costs because they depend on the scale and duration of projects.
Direct Income. An income acquired from ticket sales and the like.
Direct marketing. The type of promotion that makes use of printed materials that is sent to the prospect in the
form of letters or flyers.
Documentation. Putting together papers, receipts, photos, and other materials to help organizers evaluate the
success of event in general as well as the performance of the people involved.
Education programs. May include artist talks, workshops, and other corollary activities that will complement
exhibitions.
Encoding. Thinking of ideas to inscribe in the visual artwork or performance.
Encroachment. Entering an event or a person’s property without permission or he or she is not welcome.
Entrepreneurial. A project or venture treated and financed as a commercial or for profit enterprise.
Ethnography. The scientific descriptions of the customs and behavior of a specific people or culture.
Evaluation. A system by whijch the organization will assess the impact of its action plan on its performance and
its ability to achieve its goals.
Exhibit launch. A special event held to introduce an formally present an exhibit to the public; prospective
buyers, collectors, and the press are invited along with the famly and friends.
External source. Envolves an entiry outside the institution or organization that provides funds for the project.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
Festival. An image-building activity in which the symbol of identity tied to a place or locale is mobilized and
highlighted.
Fiscal management. The systematic and methodical way of managing and expanding resources.
Formation. A process of aligning oneself to the vision of the organization and continuosly carrying out its
mission, being open to correction and feedback, and having genuine desire to improve for personal and
collective good.
Gallery manager. Somebody who facilitates the circulation of arworks in art market.
Gig . short for engagement; generally held in bistros, restaurants, and casual spaces not really meant for the
consumption of art but for people to unwind or enage each other in casual conversation.
Hierarchical. A system arranged in a pyramid where processes, transactions, and decisions need to pass through
the different levels according to rank and grade.
Hudhud. A non ritual narrative heard as chant.
Hybrid. Something that is formed by two or more things.
Institution. A society or organization established for a religious, educational, social or cultural purpose.
Intangible benefits. Abstract and deferred benefits such as reputation, prestige, and recall.
Interdisciplinary insights. Allow oneslf to go throughliberal arts education;may also have to do with studying
patterns of consuming art or gathering information about cultures.
Internal sources. Savings of a personal nature, earnings saved then converted as spending capital, or assets
owned and converted to cash.
Internet marketing. The use of the internet to communicate to audiences.
Impresario. Somebody who brings a concert artist and mounts a show.
Lateral communication. Also known as horizontal communications; from one person to another peer at a given
level in the organization.
Lighting director. In charge of the placement of all lighting fixtures inside a theater, concert hall, or any
performance space.
Locale. A pale where an art event usually happens.
Man-hours. A list of tasks to be done and provision for noting whether they have been accomplished or not, by
whom, and when.
Managing curator. Soemeone who oversees both the artistics direction and the administrative concerns of an art
institution or organization.
Managing director. Sometimes referred to as “ general manager” or “ chief operatons officer”
Marketing. The management process responsible for identifying, anticipating, and satisfying customer
requirements profitably.
Marketing mix. A term for the marketing variables that arts managers can deal with
Master class. An intimate gathering of musicians/dancers with a guest artist-facilitator.
Mentoring. The process of coaching others and guiding their careers.
Museum Director. Runs the administrative side of the museum as an organization.
Meritocracy responsibilities. Tasks assigned according to ones’ capabilities and skills sets.
Middleman. A person who serves a s conduit between the artist and the audience, and works to faciliate any
transactions between the two.
Mission. A statement that expresses how an organization intends to achieve its vision.
Music director. Somebody in charge of the over all musical direction of a group.
Networker. A person who make connection with people from different fields and nurtures relationships wijth
contacts through effective liaising especially with relative stakeholders.
Non profit projects. Not-for-profit projects that are usually undertaken for the benefit of specific stakeholders.
Normative leader. Acts according to their decision-making style.
Novelty. A unique feature or experience that an artist or event is offering.
Organizational culture. The collective attitudes, values, and principles of the people in an organization.
Overhead costs. A cost that remain fixed such as rentals, yearly association dues, inc.
Patron. A person who finances or provides other support to an artists, organization, project, or activity.
Patronage. Support given by an organization or individual, usually in the form of financial aid or sponsorship, to
an artists.
Peripherals. Additional materials that may be related to how exhibits are designed in order for an intended
message to be communicated.
Personal Selling. A direct, personalized form of communicating to audiences.
Personal Vision. Imagining how one’s work would fit into one’s life as a whole
Platform. A space or opportunity where an artist, cultural worker, audience, and other stakeholders inn the arts
are given access.
Playwright. Writes the script for a production; responsible for the concept to be used as raw material for a play.
Prestige. The weight or value of a project as it is attached to an occasion of relevance on an international,
national, or regional scale and carries that significance as well.
LEADERSHIP and MANAGEMENT in the ARTS/Grade 12/Arts and Design Track
Products. Art objects that can be touched which is done by the artist.
Production designer. A creative person in charge of the visual aspect of the production.
Profit. Used for entrepreneurial ventures in the arts.
Profit-oriented projects. It aims to generate income from the art.
Project plan. Provides the overall framework needed for a project in the visual arts, performing arts, or one that
integrates both, such as festivals.
Promotion. The communication mix which includes personal selling, sales promotion, public relations, and
advertising.
Public relations. About influencing an organizations’ various publics by disseminating information and materials
through various media.
Qualitative research. Involves producing data with in-depth information.
Quantitative research. Involves questionnaires where results are measured by numbers.
Recall. The quality or ability to make people remember because of a unique characteristics or special feature.
Recital. Meant to highlight a performer and show evidence that the performer has already acquired a certain level
of technical mastery on the instrument.
Repertoire. Comprises all the plays, songs, dances, or the like that a performer or group of performers can do or
present.
Retrospective. A show meant to commemorate an important artist and his works spanning over several years.
Sales promotion. Designed to add value to the art form or project.
Scale. The relative size or production scope of an exhibit, show, or performance.
Servant leadership. Based on listening, empathy, stewardship, and loyalty.
Service design. Factors that affect how the art form is experienced.
Service encounter. How arts manager designs the encounter with an art form.
Service flow. How the individual arts audience will navigate through the event and how the art form will be
experienced in sequence.
Situational leader. A type of leader who feels the need to adapt based on the situation; he/she directs, supports,
participates, and drives for achievement.
Sociocultural. It is the combination of social and cultural change that allows the arts access to global routes.
Sound Designer. Someone who works with sound effects and he musical score of the production.
Space. The venue where the project will be held.
Sponsorship. Funding support received from an organization or individual.
Stakeholder. A person, group, or organization with an interest or concern in the art project or venture.
Strategic plan. It is the overall master plan; the framework that keeps organizations grounded.
Tactician. The arts manager must be able to determine the needed manpower support and funding for projects;
has feature specific creations or art forms.
Tangible benefits. A quantifiable benefits with direct impact.
Tastemaker. A person who influences many people through his or her actions and statements.
Tertulia. An informal gathering of individuals with artistic and creative inclinations.
Transactional leader. Someone who instructs people and discusses tasks to be performed before they are
assigned.
Vision. A statement that describes what an organization aspires to be.