Viewing and Discussion Series Manual For Librarians and Scholars

Viewing and Discussion Series Manual For Librarians and Scholars America s Music: A Film History of Our Popular Music from Blues to Bluegrass to Broadway A project of the Tribeca Film Institute in partnership with The American Library Association Public Programs Office Tribeca Flashpoint and The Society for American Music Made possible by a major grant from The National Endowment for the Humanities: Exploring the Human Endeavor

Table of Contents About This Manual...1 Acknowledgments.......2 Introduction.3 SECTION A: PLANNING THE SERIES Part I: Planning Guide Why Have a Viewing and Discussion Series...5 Introduction..6 Start at the Beginning...6 1. Determine the need and interest 2. Determine the goal of your series 3. Define your target audience 4. Form a planning committee 5. Recruit community partners 6. Select the day/date/time for your programs 7. Develop an action plan 8. Prepare the budget 9. Plan the evaluation process Choosing a Scholar..9 Program Guide...10 What You Need to Host a Series...10 1. Materials 2. Audio-visual equipment 3. Staff support 4. Meeting space 5. The audience -- sign em up! At the Programs.11 1. Format/agenda 2. What to bring to the programs. Ancillary Programs and Special Events/Exhibits..13 Hosting Another Series..13 SECTION B: GUIDELINES FOR SCHOLARS Introduction 14 Responsibilities..14 Qualifications.15 Program Guide...15

SECTION C: PROMOTION Introduction 16 Getting Started... 16 Defining Your Target Audience...16 Choosing Your Communication Methods 17 1. Public Relations/Publicity Contacting local media Using the Web and social media 2. Direct marketing 3. Personal contact 4. Advertising Putting It All Together...21 Sample Promotional Materials...22 1. Sample letter to community groups 2. Sample media alert 3. Sample press release 4. Sample public service announcements (PSAs) 5. Sponsor and funder credits 6. Project fact sheet SECTION D: ADMINISTRATIVE DOCUMENTS For Librarians and Administrators.29 Getting it done -- a checklist Promotion calendar Guidelines for film screenings Letter of agreement with scholar Sample scholar introduction Program profile (one for each of the six programs) Final report For Partners 41 Evaluation form For Scholars...42 Evaluation form Guidelines for providing biographical information For Participants..45 Program evaluation form Final evaluation form

Part II: Program Guide A. Introduction to America s Music.49 B. Overview of Structure and Materials.. 52 C. Guide to the Films 54 D. Program Introductory Essays.. 63 E. Sample Discussion Points 81 F. Humanities Themes.86 G. Ancillary Programs and Activities. 91 H. Resources. 94 1. Additional Documentary Films.94 2. Bibliography 102 3. Discography.106 4. Online Resources.112

About This Manual This manual for librarians and scholars provides information about developing a local Viewing and Discussion series using resources selected and organized by the Tribeca Film Institute and the American Library Association Public Programs Office with funding from the National Endowment for the Humanities. (Please note: Historically, the principal audience for Tribeca Film Institute s viewing and discussion programs has been public libraries. Recently, a number of other kinds of nonprofit organizations have also participated in the programs, among them college libraries, arts organizations and museums. For the sake of simplicity, we will use the terms libraries and librarians in this manual to encompass all the various participating organizations and their administrators.) The Manual has two main parts: Part I: The Planning Guide includes the introduction and sections on planning the series, guidelines for scholars, promotion, and administrative documents. Part II: The Program Guide is designed specifically for those who are offering the America s Music program. It includes a guide to the films (including recommended selections for program screenings), sample discussion points, ideas for additional programs and activities, and other recommended resources (films, books, recordings, online resources, etc.). 1

Acknowledgments The Tribeca Film Institute is pleased to acknowledge the institutions and individuals who have played important roles in the planning, development and implementation of this Viewing and Discussion series. We are grateful to the American Library Association Public Programs Office for sharing its Let s Talk About It reading and discussion model, which has been freely adapted for this Viewing and Discussion series. Additionally, we thank them for the use of several of their forms and checklists which have been borrowed for this manual, and for their work in preparation for the National Workshop. We also gratefully acknowledge the work of those responsible for creating the America s Music program: Academic Advisors: Professors Juan Flores (New York University), Krin Gabbard (Columbia University), Bill C. Malone (Tulane University), Charles McGovern (College of William and Mary), Guthrie Ramsey (University of Pennsylvania), and Rachel Rubin (University of Massachusetts) Content Curators: Debra Franco and Jeanne Houck Library Consultants: Sally Mason-Robinson, Frannie Ashburn, Tim Grimes, Eli Neiburger, and Gary Handman Finally, a special thanks to: Tom Phelps, former Director of Public Programs, National Endowment for the Humanities Kathleen Mulvaney, Senior Program Officer, Public Programs, National Endowment for the Humanities Susan Brandehoff, The American Library Association Public Programs Office Eileen Newman, Director, Community Engagement, Tribeca Film Institute Holly Kang, Project Manager for America s Music, Tribeca Film Institute Marianna Whitmer, Executive Director, the Society for American Music Tim Gunn, Project Director Beth Janson, Executive Director, Tribeca Film Institute 2

Introduction A Viewing and Discussion series consists of six weekly programs of lectures, film screenings, readings, and discussions held in libraries and other nonprofits for public audiences and led by scholars (college/university professors who are experts and enthusiasts in the series subjects). The programs help participants see important subjects as a series of interlocking stories and points of view, drawn into conjunction through historical events like war, through the influence of technology and science on people s lives, or by an examination of American culture and history through an examination of its popular music. Through the lens of humanities scholarship, libraries offer their communities an opportunity for deeper reflection on the complexities of historical, sociological, political, and cultural themes while promoting the use of library collections and services. Libraries and Public Programming "Democracy demands wisdom and vision in its citizens" is a saying long attributed to Thomas Jefferson and is quoted in the National Foundation on the Arts and Humanities Act of 1965. Public libraries in their role as "diffusers of knowledge among the citizenry of the community in which they exist" (Charles Frankel) provide access to excellent collections of materials, but "in order that citizens glean wisdom and vision from these vast, assembled collections, librarians must encourage their use and their interpretation. It is not enough to select and organize materials, librarians must as well aid in an educational enterprise that promotes understanding." (Thomas Phelps in Rubin, Rhea: Humanities Programming, Neal-Schuman, 1997, p. ix) Since 1978, the National Endowment for the Humanities, state humanities councils, foundations, libraries and other nonprofit organizations have established partnerships that have brought humanities programming to hundreds of thousands of American citizens in communities nationwide. "Programmatic activities give ordinary citizens the opportunity to share experiences, emotions, and ideas with those who have already studied and with others who want to learn. It is clear that from such sharing new ideas emerge. And it is more clear that ideas make a positive difference in the lives of people." (Phelps/Rubin, p. x) Public programming offers something for everyone. For librarians there is the satisfaction of being a catalyst for meaningful discussion and exchange of ideas. Patrons are very grateful for this opportunity and they say so. One librarian reported that her experience with public programming was "the most satisfying thing I've done in my many years as a professional librarian. The patrons were so pleased and grateful and they made me feel wonderful for providing this experience." Program scholars experience all the benefits of teaching without having tests to prepare, papers to grade, and students who are in class only because they have to be. Public program "students" are there because they want to be and they come to "class" prepared to discuss the content (they do their homework). These participants bring a life experience to their examination of texts and films that is far different from that of the 3

typical college-age student, and scholars often find their own scholarship enhanced as a result of these contacts. Dr. Peter Makuck (East Carolina University, Greenville, North Carolina) expressed delight with his experience by saying, "These participants were enthusiastic, friendly, bright, and didn't need to be prodded into discussion. As a teacher, you long for, but rarely have, such charged group participation. Our librarian did the lion's share of the behind-the-scenes, and I risk sounding sentimental, but it was reassuring to realize that there are such good people at work in our community." And participants have it all. As one woman said following a Voices and Visions reading, viewing, and discussion series on modern American poetry, "I read poetry I would never have tackled on my own, we had a wonderful scholar who made poetry come alive, and I talked with interesting people from my own community about ideas that are important to all of us, and I did it all for free at my very own public library!" The Viewing and Discussion program is based on the recognition that film is a particularly effective entry into serious thought, discussion, and further reading and/or viewing, especially for the intended audience of non-traditional, out-of-school adult learners. The films provide a dramatic springboard for group discussion of key social and political themes of this century; participants will turn naturally to additional books and films after taking part in the programs. For everyone involved there is the fun, excitement, and challenge of reading, viewing films, learning, sharing thoughts, and talking about important issues and ideas. Program Model The Viewing and Discussion series provides an easy-to-follow model for offering public programming in the library setting. A series consists of six weekly programs of viewing films curated on the project s specific subject (see Part II, Program Guide, Introduction to America s Music). This Viewing and Discussion project has enhanced and expanded public programming by selecting and developing the material content that a library needs to offer a series: DVD copies of the series films access to downloadable online essays by project scholars posters and other publicity materials, also downloadable online In addition, this manual provides details about planning and implementing such a series. Libraries also have access to online support from national project staff and from experienced colleagues around the country. To host a series, a library need only have a meeting area, equipment to screen films, and most importantly an audience. The library is responsible for identifying and working with a scholar/discussion facilitator and with local partners (organizations, agencies, and groups whose constituents have a special interest in the series subject). The library will need funds to purchase materials and to provide an honorarium and travel expenses (if necessary) for the scholar. Part I: Planning Guide of this manual provides additional information and tips to help libraries plan, publicize, and implement a series. 4

SECTION A: PLANNING THE SERIES Why Have a Viewing And Discussion Series? We humanize what is going on in the world and in ourselves only by speaking of it, and in the course of speaking of it, we learn to be human. Hannah Arendt, Men in Dark Times Well-conducted discussion is action. Discussion is growth, clarification, self-discovery, change, understanding and any combination of these and other events. Richard A. Lewis, Discussing the Humanities The long history of successful viewing and discussion series in libraries is a based largely on their offering something for everyone who takes part. Listed below are some of these advantages. You will experience others as well, so enjoy! Tune in to WIII-FM (What Is In It For Me?) For libraries: builds social capital for the library: image shaping, community building, showcasing the public library s role as a vital community cultural center program format and project procedures have been proven workable program materials (DVDs, etc.) are of excellent quality scholar/discussion leaders/experts are identified for the library establishes or enhances community partnerships encourages use of library's collection For scholars: a receptive audience who seek lifelong learning experiences no tests or papers to grade potential to have their own scholarship informed by interaction with people whose long and varied life experience is much different from that of the usual college students For participants: equivalent of a free college course user-friendly atmosphere of the library, open forum for discussion free access to additional materials in varied formats on the series topics meet and talk with other people interested in the same subjects interaction with humanities scholar as informed guide and discussion facilitator Thanks to Frannie Ashburn (former Director, North Carolina Center for the Book) for sharing this list. 5

Introduction Tribeca Film Institute has selected and developed the materials you'll need to host a series: the films, the essays (to be downloaded from the Tribeca Film Institute website, www.tribecafilminstitute.org/americasmusic/, and photocopied for participants) and publicity materials. You will identify your audience, provide the meeting space and equipment to screen the films, engage a scholar/discussion facilitator, and publicize the series. Remember: Careful planning = Success Planning helps you define what constitutes success for your project and what steps are necessary to achieve this success. Planning will answer the questions: What is the purpose of hosting the series in your library? What audiences do you want to reach? How will you go about reaching your goals? How will you evaluate the results? When you decide what outcome you want, you can plan how to achieve it. Much of the work for a Viewing and Discussion series is done up front and this manual provides step-by-step information to help you do that planning. Once the programs begin, they develop a life of their own and run week-by-week with little additional work on your part. It is essential that all partners work together to understand how to achieve the common purpose. Good planning helps you to avoid misunderstandings, duplication of effort, and wasted resources. Public discussion programs are partnerships and everyone has an important role to play. Viewing and Discussion materials (films and text) will be the content of your programs and your scholar will lead the group in exploring these materials. You as the library coordinator will keep everything running smoothly so that the participants can do their job, which is to give thoughtful consideration to the ideas and information that they are discussing. Start at the Beginning Steps to follow in your planning. 1. Determine the need and interest. How does this program fit your library's mission? Answering this question is essential to gaining internal and external support. Why would you want to host a series like this in your library? Are your patrons and other members of your community interested in the series topic? Are they interested in film? What facts support your answers? 6

2. Determine the goal of your series. What do you want to accomplish? How will you define a successful series: by the size of the audience? the level of participation? what else? What will people gain from participating? How does this advance the library s mission? 3. Define your target audience. Who do you want to come to the series, and how does this meet your library's mission? What groups of people or organizations would have an interest in this program? Why? How can you reach them? 4. Form a planning committee. Who should be involved in the planning? What do you want the committee to accomplish? Who can help promote and support a successful series? Who are the interested parties? Consider community partners such as service clubs, museums, educational institutions, or media outlets (newspaper, radio station, television station). And don't forget your Friends of the Library group. Friends often have a newsletter that can promote your series, they have a mailing list that you can use to send flyers, and they excel at providing refreshments (always a plus!). 5. Recruit community partners. Why bother? Partnerships require an investment of time and effort. You do have to recruit, work with, and meet with partners; however, this is not a one-night stand you re building lasting relationships that can have long-term benefits for both library and partners beyond this one series. Even if you never work with this particular partner again you will have learned something about partnering, its benefits, and its pitfalls. Here are the ABC s of partnerships: A. You must consider Listen to WIII-FM (What s in it for me?)for partners just as you do for program participants: Are they looking for a special project to meet their organizational goals? Do they want to be seen as more than a one-trick pony? Do they want to earn community good will for partnering with the library to benefit the community? B. Partners why do you want them? You share the same goals: community education and service. They have something to offer that you need: money, resources, expertise You both want to reach the same audience: they may provide you with a mailing list of their members/constituents or promote the series in their newsletter or invite you to announce the series at one of their meetings. C. And what do they see in you? A link to a community agency with a long history of commitment to community service and a reputation as a good citizen of the community. Inside work done by the library so that even a small investment of time/money on their part will give them a real sense of ownership. 7

A quality program for which they ll earn community goodwill. Unexpected benefits like recruiting new members and learning about library resources specific to their interests (resources accessed for them by trained professionals for free! free! free!) D. Matchmaking consists of: Deciding what you want: money? community exposure? potential audience? publicity? equipment/space to borrow? expertise that you don t have or don t want to hire? services like printing or catering that you can t afford to pay for? Finding out who has it: i. Commercial organizations like banks, bookstores, printers, caterers, public utilities, etc. ii. Agencies like the Council on Aging, Arts Council, Humanities Council, cultural arts groups, etc. iii. Organizations like book clubs, writers groups, service clubs, AARP, League of Women Voters, special interest clubs and organizations, etc. iv. Institutions like museums, schools, colleges, community colleges, universities, retirement centers, etc. Figuring out what you have to offer them in exchange community visibility? a quality program that they don t have access to otherwise? Going where they are to recruit their support take your scholar along if he/she is available. Involving them in the programs: having them introduce the speaker/scholar at one program or inviting them to have dinner with the speaker before the program. And if they still say NO THANKS, then issuing a special invitation to their president or someone else in the organization to come to at least one program (show em what they missed and you re likely to recruit them for next time). E. As Rhea Rubin points out in Humanities Programming, there are philosophical as well as practical advantages to partnerships. Collaboration pays off in: positive support and encouragement that goes both ways, the political reality that more is better more community organizations/agencies involved translate to the project s having clout with the local powers that be, and showcasing the library as both central in the community and knowledgeable about the community. 6. Select the day/date/time for your series. When is the best time for your target audience to come to programs? Consider the following: An evening program may not be attractive to people who do not drive after dark or for whom transportation is not easily available. Daytime programs during the week will eliminate many working people from your audience. 8

Weekend programs (Saturday midday and afternoon or Sunday afternoon) are good choices for the scholar who won't have been in class during the day and for people who work and for folks who don't drive after dark. Holidays can interrupt a series that takes place over six weeks. Be sure that the day of the week you choose does not conflict with some community activity that may affect your audience. Note: The library's and scholar's needs must be considered, but selecting the day/date/time with the audience first in mind gives you the best chance for success. 7. Develop an action plan. Who will do what? And when must it be done? There are many possible partners for each series and each partner's role should be clearly defined. 8. Prepare the budget. What are the direct costs (DVDs, books, printing, postage, rental of AV equipment, scholar's honorarium and travel, etc.) and indirect costs (staff time, photocopying, use of the meeting room, etc.)? What funds are available and where can you get additional funds? Consider these resources for additional funds: the library's budget, local sponsors/partners, and Friends of the Library your best friends for programs! state humanities council 9. Plan the evaluation process. How will you know if you have met your goals? What information will tell you this? Who will do the evaluating one group or everyone involved (i.e., the scholar, librarians, community partners or the participants)? How will you use this evaluation? To plan more and better programs! [Evaluation forms can be found Section D of Part I of this manual.] Choosing A Scholar Viewing and Discussion programs are led by scholars whose ability to use critical thinking skills and to place ideas in an historical and philosophical context is essential to public discussion. Look for someone with good facilitation skills, someone who enjoys working with nontraditional audiences, and someone who is comfortable with the give and take of a discussion format. Someone with great expertise in his/her subject may not be as good a facilitator as a scholar who has teaching experience and personal interest in the subject plus good facilitation skills. To find a scholar, contact your state humanities council, Center for the Book, state library, local college, university or community college, and/or other libraries in your area that have hosted programs. 9

When you have selected your scholar, send him/her a letter of agreement, spelling out the required duties and details about compensation. [A letter of agreement can be found in Part I: Section D of this manual.] Program Guide See Part II: The Program Guide for an overview of the America s Music theme, the series essay and materials. Section C of the Program Guide describes the films and includes instructions on where to cue the DVDs for viewing at the programs. Section D includes sample discussion points for each of the programs, Section F offers ideas for additional programs and activities, and Section G lists additional resources (films, books, recordings, and online resources). What You Need To Host A Series Here s more of what you need for a series: materials, audio-visual equipment, staff support, meeting space, and (THE BIGGIE) an audience! 1. Materials The success of a discussion program depends on participants having the common experience of reading the same material, seeing the same film, hearing the same scholar, and bringing their individual experience to this reading/viewing/discussion program to provide lively discourse, which is the focus of the programs. You will need the following materials to host a Viewing and Discussion series: DVDs. The films that are part of a Viewing and Discussion series are available either as part of a national grant program, or they can be purchased from the Tribeca Film Institute (212-274-8080). Or you may borrow the films and other materials from libraries that have already hosted a series. Essays. Brief essays written by national project scholars provide context for the programs. These should be downloaded from the Tribeca Film Institute website and photocopied for participants. Posters. Posters are available for the series, downloadable from the project website: www.tribecafilminstitute.org/americasmusic/. There s a place on the poster for you to include your program day/date/time, sign-up information (where to/how to), and the name of your scholar. You can include film titles as well. Graphics. Logos are handy for promoting the series. Use them when designing press releases, ad mats, flyers, bookmarks, and public service announcements. They are designed to be easily adapted for local use. Graphics are also available on the project website. Additional Books and films. Some libraries may wish to add a reading component to the series. Each Program Guide provides a bibliography but, of course, additional books can and should be added as appropriate. Books, DVDs, and CDs that might be of interest to participants should be on a book truck or table in the meeting room so that they can be checked out at the program while the interest is fresh. Handing out a bibliography is helpful, but having materials on hand makes additional exploration of the library s collection much more manageable. Reserve these materials for program participants for the duration of your series. 10

2. Audio-Visual Equipment You will need the following for a satisfactory viewing experience for your audience: a DVD player a projection system or television monitors (2 minimum) an external sound system If your library doesn't already own what you need, perhaps your Friends, school district, or community partners will provide the equipment or provide funding to rent equipment. For detailed information about equipment and screening, see "Guidelines for Film Screenings" in Section D of Part I of this manual. 3. Staff support Be sure that your staff knows about the series and how it works so that inquiries are handled efficiently. Many patrons have contact only with the staff members at the circulation desk, so it's critical that these people know how to answer the question, "What's this America s Music series? Prominently display the sign-up forms or notebook at the circulation desk. Create buttons for staff to wear America s Music ROCKS! Dance with a librarian! Blues aren t always blue! Use displays of books or CDs or vinyl records and other memorabilia to attract attention for your series. 4. Meeting space See the "Guidelines for Film Screenings" in Section D of Part I of this manual. 5. The Audience -- Sign `Em Up Talk it up within the library. Staff can make a big difference in generating patron interest they know their patrons and can encourage them to participate. Use a registration form. Registering for the series helps people make a commitment to attend and lets you know how many are coming. Keep the forms in a prominent place so that staff and patrons will be aware of them. Forms can be kept in a three-ring binder for easy access. Remind them. Phone participants the day before the programs to remind them. Friends of the Library are a great resource for making these reminder calls. Promote. Promote. Promote. In Part I: Section C of this manual you will find extensive suggestions for promoting and publicizing a Viewing and Discussion series. Series-specific suggestions are included in the Program Guide. At The Programs What to do (format) and what to do it with (things you ll need at the programs). 11

Format/Agenda The program format is structured but FLEXIBLE. Use what works best for you. You will have six two-hour programs held weekly. Participants will spend about half of each session viewing a film, so allow for a restroom and refreshment break before they begin their discussion. For a typical 7:00 PM-9:00 PM program: 6:15-6:30 Check physical arrangements, equipment, and refreshments (See the "Getting It Done" checklist in Part I: Section D of this manual 6:30 Scholar arrives 7:00-7:15 Librarian welcomes audience, thanks the local, state, and national funders and sponsors, and introduces the scholar (using biographical information provided by the scholar). Librarian leads the applause scholars need encouragement too! Scholar gives a 20 minute introduction to the program's subject and film. 7:15-8:10 View film (this time is adjusted to accommodate the screening time). 8:10-8:20 Break (this is important for folks who have been sitting for an hour). 8:20-8:50 Discussion. Scholar facilitates group of up to 12 or the group breaks into small groups of 8-10 with each facilitated by a volunteer* using the scholar's prepared discussion points to spark discussion. The scholar will circulate among the groups to answer questions and listen to comments.(*identify people who would be good facilitators, who can keep the discussion moving, and who will allow others to "speak their piece." They don't have to have any expertise other than the willingness to facilitate the small group discussion using the discussion points provided by the scholar.) 8:50-9:00 Scholar wraps up discussion, highlighting important ideas from the discussion, and reminds participants about the next program's film and reading What to bring to the programs Sign-In Sheets and name tags. Provide these at each session. The sign-in sheet gives you an accurate count and information on who attended the programs. Name tags are helpful for scholars as well as participants (and librarians). Use a broad tipped pen to print name tags in block letters (first names only are fine). Or provide "permanent" name tags to be used at each session. Having people write their own name tags is time-consuming and does not guarantee legibility. Refreshments. Coffee/cold drinks/cookies are a nice touch and a natural for the Friends of the Library to handle. Evaluation forms. You need participant feedback about the series. What worked well? What would they like to see changed in a future program? Did they borrow library materials for further reading/viewing? Evaluation forms are in Part I: Section D of this manual. 12

Additional videos/dvds and books that might be of interest to participants. Put these on a book truck or table so that they re accessible to participants as they enter and leave the meeting room. Ancillary Programs And Special Events Most libraries find that a series is greatly enhanced by offering additional programs and activities. These can include exhibits, lectures, live performances, or presentations by local experts. You might have a "special" program as a kickoff to the series. Or you can have a program at the end of the series. Perhaps you'll want to create an oral history project in conjunction with the program. The series also will be an opportunity to promote your library's book, video/dvd, and audio collections. Part II: Section F of the Program Guide in this manual includes program and exhibit ideas. Hosting Another Series Call the Tribeca Film Institute (212-274-8080) for information about hosting any of their Viewing and Discussion series. Additional series are being developed and pilot site opportunities will be available, so visit Tribeca Film Institute s website at www.tribecafilminstitute.org for current information. Libraries may purchase the materials including the films, planning manual and promotional materials from Tribeca Film Institute. Or consider borrowing materials from a library that has already hosted a series. 13

SECTION B: GUIDELINES FOR SCHOLARS Introduction Scholars are informed guides for the programs, providing background and facilitating discussions. They foster an accepting atmosphere to encourage the free exchange of ideas and responses to the films, text, and personal experiences. The short time allotted for the scholars' presentations requires that they be more facilitators than lecturers and that they focus on participants' responses as the basis of discussion. Scholars are selected as discussion leaders for Viewing and Discussion programs because of their knowledge of the project topic, for their interest in film as a tool for teaching, and for their ability to work with the diverse public audiences that attend programs. Scholars should keep in mind four important points as they prepare to lead a series: 1. Out-of-school adults will make up most of the audience. Developing the discussions for this series is different from preparing to teach a college course on the same subjects, as your audience brings a life experience to the series different from that of the usual student. 2. Your presentation is a catalyst for discussion rather than a definitive explanation of the program's subject. You are the participants guide and the focus of the program is on their discussion. 3. The films viewed at the programs are important for their artistry as well as their content, and scholars should help the audiences understand why the films are effective in presenting the material. 4. For scholars experienced in reading and discussion programs, a viewing and discussion program is somewhat different in that the material is being absorbed on-the-spot. Good film engages the emotions, so be prepared for a more immediate emotional response to the material than in a book discussion format. Responsibilities Scholars and librarians work together as a team to present the Viewing and Discussion series. Librarians provide the meeting place, equipment, and logistical support. Scholars guide the participants through their consideration of the materials and the subjects to be considered, and they facilitate participant discussion. As a scholar for a Viewing and Discussion series, your general responsibilities will include: Reviewing the overall approach to the series material and the specific theme concepts developed for the series. Reviewing all films and text for series (It is imperative that you view each film in full prior to screening. This helps you prepare your introduction and discussion points. In addition, you will be familiar with the film content and prepared to address that with the audience. Providing a 10-15 minute introduction to each program. 14

Preparing several discussion questions that will be posed to the group at large or in small groups. Circulating throughout the room to answer questions, make comments, and listen to what is said in the small group discussions. Briefly highlighting important ideas expressed in small group discussions as a way to close the program. Qualifications An active interest in reading, viewing, and discussion programs. Experience in public programming. Enjoyment in working with out-of-school adults. Time to fulfill demands of preparation for and leading programs. Program Guide (Part II of this manual) See Part II: Program Guide for an overview of the America s Music theme, the series essay and materials. Section C of the Program Guide describes the films and includes instructions on where to cue the DVDs for viewing at the programs. Section D includes sample discussion points for each of the programs, Section F offers ideas for additional programs and activities, and Section G lists additional resources (films, books, recordings, and online resources). 15

SECTION C: PROMOTION Introduction To draw the audience you seek and to create awareness about your Viewing and Discussion events, your library needs to plan and implement an effective promotional campaign. The following guidelines will help you launch a successful campaign. Included are sample media materials and general suggestions as well as series-specific examples for effective promotional activities. Please note: All promotional material should feature the program's graphics and acknowledge the program funders the Tribeca Film Institute, the American Library Association (ALA) Public Programs Office, the NEH and your community partner(s). Use logos whenever possible. Getting Started To meet media deadlines and other deadlines, start promoting your Viewing and Discussion series at least two months in advance. To assist in planning, please see the Promotion Calendar in the Administrative Documents section of this manual. The calendar contains key to-do tasks and dates for your promotional activities. First determine your target audience, goals for audience size and the best communications methods for this program. Involving your fellow staff members in program planning is a great way to determine these things and to foster new ideas and additional support and enthusiasm. Consider holding a mini-workshop or brainstorming session. During this session: Emphasize the potential for recruiting new users and building support for the library, Communicate the goals for your program what audiences you wish to reach, what you wish to accomplish, and Assign staff with various interests/talents to work in small groups to carry out the goals. Additionally, share your program plans with the library director, board, Friends, and other library support groups and invite their ideas and cooperation. Defining Your Target Audience Your general promotional materials such as flyers, press releases, and advertisements are great vehicles for reaching a general audience of mixed ages and backgrounds. However, there are probably several groups in your community that will be very interested in your Viewing and Discussion program. These groups can pass the information on to members of their organization who may be interested in attending or providing financial and other 16

support. Following is a list of organizations in your community that may be interested in your Viewing and Discussion events: Local historical societies and groups Museums and art councils Music Societies VFW chapters American Legion groups Minority group associations Labor unions Service clubs (Rotary, Kiwanis, Jaycees, etc.) Local college and university groups or classes Local elementary and high school teachers, college and university professors/staff Professional associations and societies Book clubs Councils on Aging Senior centers AARP groups Lifelong learning societies and educational centers Also, depending on the topic of your series, there may be other organizations with a particular interest in your program. For example, for the America s Music program, you may want to reach out to local music clubs and societies, university or high school music departments, or musical theater groups. Choosing Your Communication Methods Once you've determined who you would like to participate in your program, you need to focus on how you're going to let them know about the event. Most communication methods fall into these four categories: 1. Public Relations/Publicity: newspaper and magazine articles and letters to the editor, announcements on television and radio programs, Web sites, Web publicity, social media, public service announcements (PSAs). 2. Direct Marketing: direct mailings, e-mail messages, Web marketing, social media. 3. Personal Contact: word of mouth, public speaking engagements, telephone. 4. Advertising: print ads, TV and radio spots, banners, flyers, bookmarks, posters, buttons, displays. 17

1. Public Relations/Publicity Contacting the media and using the Web to publicize your event is key to getting your message out to a mass audience. Here are a few methods you can use to contact your local media and to reach people through the Web: Contacting local media: Send a press release announcing the event to your local newspapers, radio stations and television stations at least two to four weeks before the event. If you have regional magazines or talk shows that list upcoming events, you may want to send a release to them as well. Since these media outlets often have longer lead times, send these press releases out at least four to eight weeks before the event. You will find a template press release to use for your particular Viewing and Discussion series under Sample Promotional Materials at the end of this section of the Guide. If possible, address press releases to a specific reporter. Call your local media outlets to find out who covers community, arts, or literary events, and send your release to his/her attention. If that information is not available, address press releases to the "News Desk" for larger publications or "Editor" for smaller publications. Most media outlets prefer to receive press releases via fax; however, mail is acceptable if you wish to send additional materials, such as a brochure or bookmark advertising the event. Also, if any of these publications have a "Calendar of Events" section, be sure to send a press release to the contact for this section. Quite often, publications will run an article about an upcoming event and also will include information about it in their community calendar sections. About a week before your event, follow up the press release by faxing a media alert to key contacts. A sample media alert is available at the end of this section of the Guide... The alert provides specific information about the date, time and location for reporters and photographers who may be interested in attending the event or including the information in an "Upcoming Events" section. If possible, call each contact a day or two later to confirm that they received the media alert, find out if they have any questions, and see if they are interested in attending or getting more information about the program. If you find that media professionals are interested in attending the event or in getting more information, you will need to have additional materials available in a press kit. The press kit should contain one copy of the press release, media alert, photo, and biographies of your scholar and other key participants, and copies of all promotional materials flyers, bookmarks, buttons, etc. If you do get to discuss the event with a reporter, suggest story ideas and offer to schedule an interview with your scholar and partner organizations. Note: before you offer, be sure your scholar and partner organization representatives are willing to be interviewed. Since television and radio stations are required to donate a percentage of their airtime for non-profit and public announcements, your local stations may be willing to air a public service announcement (PSA) about your Viewing and 18

Discussion event. A PSA will advertise your event, but is donated airtime, so there is no cost to your library. See the end of this section for sample PSAs. Using the Web and social media Start by making sure that the details of your events are on the web somewhere; if not on your library s web site, then on a community events calendar or online version of a newspaper events listing. Use a URL (web address) that will take users directly to details about the event, like the full item page or the like, not search results that can change. If this is a long URL, you might consider using a URL shortener such as bit.ly, which will let you make your own shorter, more easily promotable URL for each event; this will make online promotion of your event more straightforward. Ideally, make a post about each event on your library web site, including links to your partners' sites. When your event Web content is posted, e-mail the address of the post to the Tribeca Film Institute to include on their project Web site: www.tribecafilminstitute.org/americasmusic/. The Tribeca Film Institute e-mail address is americasmusic@tribecafilminstitute.org. Use your library s social media presence, these to promote these events. The goal is to present a link to details about the event with a comment or question that engages your followers or friends and encourages Likes, comments, or retweets, etcetera. Mention a highlight of the upcoming event, or an interesting fact about a film or presenter, or ask your followers to mention their favorite song or film. Don t directly ask users to RT or Like your post; engage them with your content and you ll get more authentic and valuable responses. Post more than once about each event. Two weeks before, one week before, and the day before or day of the event is a good approach. Link to the same detail page on your website each time, but make each post a little different; ask a different question, highlight a different angle, etc. Give your followers a little more info each time. Be sure to monitor the response to your social media posts and respond when you get engagement or comments. Be lighthearted and fun; social media land is not a serious place. You might consider a giveaway of some library swag to the first person to correctly answer a trivia question about the event, or the first person to post their memories of related music or films to get the ball rolling. If you have a twitter presence and are getting interest about the event on twitter, consider setting a hashtag to encourage twitter users to post about your events. Hashtags should be short and sweet; #b2b is a good option. Facebook ads can be very effective and inexpensive, and can be easily targeted to people in your area that are interested in music and film. Facebook does a good job getting new users up to speed advertising on facebook; just get started at facebook.com/ads. 19

2. Direct Marketing Using the list of community organizations and other groups you identified as your target audience, you can use direct marketing to contact these groups and individual members of these groups. When contacting community and other organizations, use a personalized letter or phone call. You can also use your program flyer as an informal letter, but include a personal note soliciting support, especially if you are asking for financial or other assistance. In addition to contacting organizations, you can target individuals in your community. If you keep a list of patrons' e-mail addresses, sending a mass e-mail message about the upcoming event can be an effective and inexpensive way to get the word out to a number of people. Send an e-mail message about the program to community group leaders to post to their electronic discussion groups or forward on to their own address lists. If e-mail addresses are not available, create a postcard to mail to library patrons, community members or others. 3. Personal Contact One-on-one personal contact is a most effective means of communicating with key individuals and groups. It can create a better understanding and foster more enthusiasm than any other communication method. Some tips: Create a list of influential individuals in your community the mayor, city council members, business leaders, etc. who may be interested in your event. Send them a letter and program flyer about the event and ask to meet with them to discuss the event. If a meeting is not possible, mention in your letter that you will call them within a week to follow-up. Even if these individuals are not able to participate in the series, letting them know about the program keeps them informed about what the library is doing for the community. When contacting community groups, ask to speak for five to ten minutes at one of their upcoming meetings or events. This is inexpensive and effective since it allows you to both deliver your message and to gauge responses. At the meeting, outline your overall series plan and present convincing reasons why the series would be of interest to them. Bring flyers, bookmarks and other materials along to hand out after your speech. If possible, speak at the end of the meeting or offer to stay until the end of the meeting to answer questions. This can also be an effective way to indicate your interest in them and in future programs and events that they would like to see at the library. If speaking at a meeting is not possible, ask the group leaders to pass out flyers or mention the program to their members and staff. 4. Advertising Often the most expensive promotional method, advertising also can be one of the most effective vehicles for promoting your program. Here are a few advertising methods: 20

Promotional flyers and posters should be simple and should include: the basic title or theme for the series, an identifying graphic, program times and location, series scholar's name and brief biographical information, acknowledgement of funders and program partners (Tribeca Film Institute, ALA, etc.), and, if applicable, your library's Web address. Flyers and/or posters can be posted at your library, community centers, (i.e., city hall, the post office and schools, local colleges), restaurants, grocery stores, dry cleaners, bookstores, health clubs, etc. Ask Friends and trustees to post flyers and posters at their local grocery store, dry cleaners, hair salon, etc. Paid advertising in local newspapers and on local radio or television stations can be effective but costly. Before considering paid advertising, approach your local newspapers, radio, and television stations regarding public service announcements (see Public Relations/Publicity section above). Newspapers and broadcast stations may be willing to donate or offer discounted airtime or ad space for non-profit groups. If you do receive free advertising, acknowledge the media outlet as a sponsor on program materials. If you consider paid advertising, also look to your Friends or other groups to underwrite costs. Developing simple, cost-effective bookmarks, buttons or other promotional items is another good way to promote your event. These promotional items can also double as a "freebie" for patrons who attend the Viewing and Discussion series. Hand out promotional items at schools, community group meetings, or other locations. Ask Friends and trustees to hand out bookmarks to people who might be interested in the programs. Putting It All Together After reviewing this list, spend a little time thinking about which of these methods will work best for your event, your community and your library. Consider your budget and the time available. Consider your planning team is this effort a production or committeebased? And, consider your past successes and failures by taking a look at which effective communication methods you've used to promote past events. For this Viewing and Discussion series, you may want to combine tried-and-true methods with some new ideas. Also, keep in mind your goals for the size and type of audience you wish to attract. If your library can only hold a group of 50, you do not need to spend hundreds of dollars on publicity. Instead, use your resources wisely. Use cost-effective methods and spend the majority of your time contacting individuals and groups who you think will be most interested instead of wasting time contacting everybody in the town. While it is important to make sure that the public is aware of your event, this can be done simply with flyers and a few press releases to key media outlets and the rest of your time can be spent on contacting people via letters and the phone. On the other hand, if you want to attract a group of 200 people who have never set foot in the library, you will need to be more creative in your promotional activities. Most likely, you will need to spend a little more time contacting new people and developing 21