Successful Nonprofit Arts Organizations, Like Successful Buildings, Depend on Successful Hierarchies
Bricklayers. Carpenters. Stagehands. Electricians. Actors. Musicians. Painters. Singers. Writers.
Easy to find hacks. Difficult to find experts. Project-based.
Foremen. Department heads. Designers. Curators. Musical directors.
Small universe of successful ones. More skills required. Still project-based. Work toward a larger goal than Level One, namely a finished piece. Excellent collaboration skills.
Smaller universe still. Hire and manage Level One and Two (no requirement to perform at their skill level). Work toward a slightly larger picture, although still project based.
Architects. Executive/Artistic/General/Producing Directors.
Scarce universe of specialists. Determine “what.” Hire Level Three – several Level Threes, in fact. Understand projects, themes, and cohesion.
Tiny, zealous universe. Hire Level Four. Determine “how.” Has personal stake.
The Community. The Mission.
Top of the hierarchy. Determines “why.”
Self-Absorbed Executive Search Firms: You’re Lovely, You’re Talented, You’re Dreamy. But Tact is Not Among Your Strengths.
On behalf of all candidates, to executive search firms:
“Thank you so much for your 3 [hour-long] phone interviews. I presented 8 tremendously qualified candidates to the client and unfortunately, you were not selected. But your loss is [company’s] gain. I’ll keep your info on file and contact you if something comes up.”
We may like you, but it’s not why we applied to that job you’re representing. Your client’s happiness with you means nothing to us.
One hour would have been plenty, not three.
A simple “no, thanks” is more palatable than “didn’t I do a good job?”
Please don’t insult us with passive-aggressive jibber-jabber – we know you’re not going to contact us unless we apply to another client of yours.
And please don’t tell us about other candidates. If we’re not among them, we really don’t care.
The American Dream is built on dependence (Independence Day and elections notwithstanding).
The USA is Blanche DuBois and the “kindness of strangers.” We’re Willy Loman. We’re Fanfare for the Common Man. Revelations. Hamilton. Smoke Signals. Angels in America. Our successes depend and are dependent on the joy, madness, and desires of others.
The monarchy doesn’t choose our art; we do.
American art depends not on individual brilliance, even though there are brilliant individuals. Our best art provides impact.
Mavericks provide almost no impact. Collaborations do.
Patrons deign to “provide for.” Supporters want to “identify with.”
True, there are Americans that call themselves mavericks and patrons. Some folks prefer their terminology shrouded in cobwebs.
But for the rest of us, we know what we are. Even better, we know why. Our best arts nonprofits reflect “We, the People.”
On September 12, 2001, we issued an internal memo at our nonprofit arts organization. We proffered the notion that standing by our programming and “moving forward” was the best way to fight back.
We were wrong. Putting on blinkers never helps.
On June 12, 2016, after one attack in Orlando and a foiled one in Santa Monica – key nonprofit arts organizations are right now readying memos rationalizing the same advice.
Move forward. That’ll show ‘em.
At what tipping point do we scrap activities to reflect the damage inflicted on people? Why must we wait for a year to see the first artistic responses? Why not now? Why worry about the production quality of said response? As nonprofits, when do we sacrifice our comfort zone to provide leadership to our communities for some resolution?
Or should we just move forward? Yet again?
Transformational Persuasion: Muhammad Ali, George Foreman, Donald Trump, Hillary Clinton, and Why It Matters – Especially When You’re Running an Arts Organization
Muhammad Ali died last week. A quote from a Zairian in “When We Were Kings.”
“George Foreman? We had heard he was a world champion.
We thought he was white, then we realized he was black, like Ali….
Ali said [about Foreman], you’re the out-of-towner here.”
Nonprofit leaders that manage organizations, programs, and people well can be quite successful. But not transformational. Transformational leaders effortlessly persuade with passion about the mission, not the statistics. Their material requires no script, just practice to remove the “ums” and “uhs.”
Trump, for example, vigorously (and effortlessly) transforms experienced opponents into “out-of-towners.” Clinton relies on effective policy, experience, and “being right.”
Passion KOs policy every time. Ask George Foreman.
Doesn’t your arts organization’s constituency deserve the most transformative experience you can offer? Or do you settle for production excellence and competence?
Does long-term planning cause a rift between your artistic director and those other people?
Does it cause discord between your board chair and those other people?
Seen all the time among arts charities: carefully (and successfully) executed annual development plans reduced to rubble after the board institutes a high-priced capital campaign. The capital campaign sucks up all in its path, causing 5 years of stakeholder repair. Indispensable Chair happy. Staff leaves.
Artistic directors substituting their taste for vision and their personal and professional relationships for core values. Idiosyncrasy obviates mission. Indispensable AD happy. Board leaves.
Both cases: company imperiled, stakeholders leaving.
Time to create an action plan, written at a 5th grade level. Make it about impact rather than income. Test the theory that your arts nonprofit is indispensable. Make sure that your most important stakeholders don’t leave.
Special 2016 “Alan Harrison’s Birthday” Edition: Pack Up the Babies and Grab the Old Ladies – And an Easy-To-Fulfill Wish List
I was born on May 14. Conceived on a hot August night. Neil Diamond would’ve been proud. He was old enough to have a kid then, so…who knows? Brother Love? Are you my papa?
From him, I want flowers.
From you, I want (this is your cue):
- A 137-word card. ( <–Yes, that’s a link.)
- Share your favorite 137 Words post with your social network (that’s “share,” not “like”).
- To join a great company with a great mission. In Seattle.
- Health for The Kid.
- Guidance for The Kid.
- The love of my life to be happy, fulfilled, and curious. You know who you are.
- The ability for you to guide your favorite nonprofit to safety, security, and success.
- Brilliantly measurable missions, better than you believe you’re capable of.
- Complete, successful execution of those brilliant new missions.
- Pie, not cake.
Nonprofit Arts Executives: After the Ask (for anything, actually), It’s Fast “Yes,” Slow “No”… Try a Slow “Yes” Instead
If you don’t hear right away, it’s probably “no.”
That goes for asks, offers, hiring, and anything else you require.
And that goes for you, too, when your stakeholders ask, offer, hire, and anything else they may require.
Reflection is the predictable path toward rationalization to the “no.” This is why the phrase “upon reflection” is almost always followed by a version of “we’ve decided not to change.” After all, as a rule, it’s easier not to change than to take a risk.
Many arts charity executives preach the glory of “managed risk” (an oxymoron, of sorts) and value fiscal responsibility above social impact. To be clear, social impact is central to the success of the mission; fiscal responsibility is a valuable business practice.
If “yes” leads to greater impact, then stop saying “no”… especially upon reflection.
Artists and Non-Offensiveness: The Tyranny of Over-Sensitivity, Feelings, and Participation Trophies
There’s a troubling trend. There’s an absurd unwillingness to offend that seems pervasive among arts creators.
Not that creators are creating “Pleasant Art,” per se. Writers and artists are creating lots of work that is designed to make audiences uncomfortable. Which is good. The work may be about single issues and not terribly complex, but it’s good.
However, there are too many artists raised in atmospheres where everyone wins, even when they lose. In the name of inclusion and self-esteem, they live in a world where, like toddlers, “feeling bad” is simply unacceptable.
They believe they’re special.
To these artists:
- You are not special.
- You do not deserve success.
- Sometimes you lose.
It’s what you do with that information that defines you.
If you believe that nobody should ever have hurt feelings, you’re not doing your job.
Arts Organizations: 137th Post, 137 Thanks, and 137 (of Other People’s) Words That Guide Inspiring Leaders
“We must reject the idea — well-intentioned, but dead wrong – that the primary path to greatness in the social sectors is to become “more like a business.” Most businesses…fall somewhere between mediocre and good.” (Collins)
“If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.” (Thoreau)
“People don’t buy WHAT you do, they buy WHY you do it.” (Sinek)
“When they say things like, we’re going to do this by the book, you have to ask, what book? Because it would make a big difference if it was Dostoevsky or, you know, ‘Ivanhoe.'” (Anderson)
“‘To be is to do.’ (Socrates) ‘To do is to be.’ (Sartre) ‘Do be do be do.’ (Sinatra)” [Vonnegut compilation]
Arts Boards: What to do When Your Arts Leader(s) No Longer Know the Difference Between Boredom and Discipline
Your theater produced a hit. Tickets sold out for days. Extended as far as you could.
Do it again next year?
No. Your outward-facing mission execution is more important than the sales of any one play. Gauge this particular play and its impact. If it’s a fit (not just a hit), consider rescheduling the next production and run this play until its inevitable end. Then close it forever.
If all your plays are mission-driven, every experience is predictable in its impact. That’s called discipline, and it’s what makes arts organizations successful.
Too many artistic directors choose to produce vanity events instead. That’s called boredom, and board chairs have to act on that kind of crisis in leadership.
Coke may make many products, but they still make Coke. Remember what happened when they got bored with Coke’s taste?
Arts organizations challenge, reflect, and engage. They don’t solve.
And remember, race is only one small bit of cultural diversity, not all of them. Just as the opposite of love isn’t “hate,” but “indifference;” the opposite of diverse isn’t “white,” but “homogeneous.”
I read a political blog recently about the Democratic Party presidential race. What troubled me were these words:
“What I’m crossing my fingers for is that in ten years or so we’ll get… a young,
charismatic democratic socialist who runs for president. (Preferably this
candidate would be a woman or a non-white person or, ideally, both.)”
Isn’t that parenthetical statement just as intolerant as one where “not” had been inserted after “would?”
Diversity isn’t only about race or gender or any of myriad other categories. It’s about power, shared equally, with specific impact.
Ils pétent plus haut que leur cul. Marketing Intellectual Pursuits to an Anti-Intellectual Public, Right-Cheer In These You-Nited States of Murrica
In the arts, we want to attract more people. Or do we just want more us?
We’re asked to produce vision, impact, and engagement. We embrace entertainment, but only if it’s at a 120+ IQ level. Even abject silliness on stage is only acceptable if it’s “smart.”
When another company produces an RSC script, they almost apologize in their marketing:
RSC: “it’s not the length of your history that matters – it’s what you’ve done with it!”
Other: “Between the rampant nationalism and the recent election, we think it more vital than ever for us to show we’re capable of laughing at ourselves. It, too, is part of the healing.”
Populism in the arts is an open path to success. Risk being fucking funny, not drolly meaningful.
Face-palms in the arts world: Oh, somewhere in this favored land the sun is shining bright; the band is playing somewhere, and somewhere hearts are light
- A managing director is face-palming because the budget draft is still a departmental wish list;
- A marketing director is face-palming because the artistic director decided that he knew more about marketing than the marketing director;
- A development director is face-palming because the board chair has fashioned a multi-million dollar “capital” campaign (actually, a “get-out-of-debt” campaign) with no feasibility study, no regard to the annual development campaign, and no accountability to anyone else;
- An artistic director is face-palming because the plays she wants to do don’t jibe with the mission of the company;
- A board member is face-palming because every meeting is about reporting, money, by-laws, and the gala;
And somewhere, performing arts audiences and constituents are collectively face-palming, hoping against hope that the arts folks in their region remember that for them, it’s about the art.
Nonprofit Arts Leaders: 137 Powerful Verbs for your Mission or Programs – Instead of Hyperbolic or Aspirational Adjectives. (Boring Headline, Yes?)
Arts Organizations: What is Your Art? Is it “It?” Is it a Picture of “It?” A Report of “It?” None of the Above?
45 years ago today, February 9, an earthquake happened. I was shaken out of bed and looked out the window just in time to see a brick chimney fall on Dr. Prince’s new 240Z. That’s what happened to me.
We turned on the television to see films about the Van Norman Dam — in danger of bursting. I saw that through a lens.
The next day’s LA Times had the front-page story, “DAY OF DISASTER — Quake Leaves 42 Dead, 1,000 Hurt; Periled Dam Forces 40,000 to Flee.” I read that report.
The racing results, as always, were in the sports section. A square box on the front page said so. Horse racing is a popular entertainment. I didn’t care.
Is your art happening to your constituents? Is it through a filter? Is it second-hand? Or is it entertainment? Only one is personally meaningful.
Many nonprofit theater board members feel isolated. They’re told (or they conclude) that the only company that matters is the one for which they’ve chosen to spend their money, time, and expertise. Board members don’t have the time to discuss extra-organizational collaboration when the basement is flooded and the auditorium is only half-full and, oh yes, they have careers and families and other interests.
Collude. Your market is begging you to collude. Don’t guess what your competition is up to; collude and be part of the regional success.
Get together with other board members regularly. Require artistic directors to openly discuss their programming with each other. Oblige your organization to differentiate.
Think shopping mall, not stand-alone.
Chamber of commerce, not pop-ups.
Constellations, not stars.
Healthy arts communities are like boxes of chocolates, not bunches of grapes. Collude.
Organizational Health Can Be Measured by the Number of Donors Who Don’t Have to Give to Your Arts Organization
How many non-board (or non-ex-board) members give to your arts organization?
How many non-staff members?
How many non-parents (if you do activities that include children)?
How many people who don’t attend your gala or other special event?
How many people who refuse donor benefits?
In other words, how many people donate simply based on your mission, programming, and activities; or by trusting a stakeholder of your mission, programming, and activities without expectation of a return?
Count the households of donors who donated all on their own. If the number is small, create a special campaign to draw them in, even if the donation is a simple $50. And thank them – they’re giving for no reason at all, except for unconditional love.
Ultimately, the health of your organization is measured by the number of those who unconditionally support it.
I’m continually surprised by surprise announcements.
Seattle does not tolerate surprise announcements well. I’m not sure of a place where surprises go well, but in a city fomenting the crucible of passive-aggressive behavior (see this article for some fun), change without tortuous committee meetings is, well, gauche.
Recently, KUOW (Greater Seattle NPR news/talk licensed by the University of Washington) issued a surprising announcement that they’ve signed a deal to buy KPLU (Greater Seattle NPR news/jazz licensed by Pacific Lutheran University). Evidently, Pacific Lutheran University’s broke.
FYI: KUOW once purchased another non-commercial station, KXOT, to carry its KUOW2 programming. That failed.
Listeners/Members hate the idea and said so at a meeting on November 23. KPLU kept soliciting memberships even after the deal was signed.
KUOW comes off as untrustworthy, KPLU as desperate.
The key to “sustainability” (which, as previously written, is not “survival”) is proof that your particular arts charity is achieving specific community goals.
Each social service and social justice charity measures its results toward the execution of their mission. Those results have a direct link to funding and community support. Your arts charity, then, must find results that apply specifically to your organization.
Charitable results cannot be measured by paid attendance or positive economic impact. Those are commercial results and byproducts — data used by sports teams to get cities to build them stadiums or by entertainment conglomerates to allow regions to let them build casinos.
So what makes your arts charity charitable? Answer that and you’re 99% there.
Confusing the Messenger with the Message: Artistic Direction Fulfills the Arts Organization (Not Vice-Versa)
Being a great director has little to do with being a great artistic director.
Directors direct projects. Artistic directors use a collection of projects to fulfill a mission that serves a community. These are completely separate skills.
ADs who direct some projects for their own company risk treating those projects as precious. Too often, they break rules for their project (organizational mission, budget, marketing, etc.) that they would never allow an “outside” director to break.
And in too many cases, when the identity of a nonprofit arts organization is too closely entangled with the vision of an artistic director, the organization’s brand is that much more difficult to recuperate when inevitable leadership change occurs.
After all, succession is not merely an artistic director handpicking a successor, is it? A company is greater than any individual leader, right?
Oh, I can hear it now.
“See?” they’ll say. “People don’t care about outcomes when they make donations. The Washington Post said so. Ergo: we don’t need outcomes.”
To come to that conclusion is just whistling past the graveyard.
Remember these hard facts:
- The arts are not mentioned in section 501 (c) (3) of the US tax code (you know…the law). The arts fall under “charitable organizations,” which require a measure of public good.
- Using the arts as a cover for an individual’s vanity vision is fine, as long as it’s a commercial venture. Once you pull the taxpaying public into it, ethics demand an outcome.
- The arts can be transformative, both on a commercial and nonprofit level. What differentiates the nonprofit is that a measurement of positive change of the human condition is necessary to rationalize funding.
I’ve been reading a number of articles discussing arts charity marketing as a whole-company tool, not a ticket-sales tool. Here’s one from TRG.
I was disappointed by Advancement Northwest’s Major Gifts Symposium keynote speakers’ idea of including donors within a charity’s mission.
I have been met with resistance from key artistic and production personnel who have been taught that “we do the art and everything else is a necessary evil.” (Actual quote.)
It’s just human nature for stakeholders to overvalue their contribution. Board members do it. Employees. Volunteers. Audience. Artists. Donors.
Here’s the thing: arts nonprofits that are created to solve a societal problem don’t have these issues. These issues fester when the company is created prior to creating (and rationalizing) a mission.
Create your company as an answer and horses and carts will sort themselves out.
Just Because Someone Repeats It Doesn’t Make It True: Nonprofit Arts Organizations Must Serve a Charitable Purpose or Die Trying
Supposedly, Martin Van Buren wrote to Andrew Jackson imploring Jackson not to approve the railroads for fear of the loss of the canal system, citing mass unemployment, the closing of boating businesses, and the fear of trains moving at breakneck speeds of 15 mph. It never happened. I checked.
In W. P. Kinsella’s Shoeless Joe, “If you build it, they will come” was actually “If you build it, he will come” and referred to the farmer’s father. Not “If you build an arts center, thousands of new patrons will come, regardless of programming.” Read the book.
There is another fabrication that arts organizations are nonprofits simply by being arts organizations. It’s not true. I checked.
All over the US, there are myriad arts nonprofits that don’t serve a charitable purpose. Rightfully, foundations are noticing and diverting funds elsewhere.
Stop Kibbitzing Your Nonprofit Arts Marketers — They’re the Experts at What They Do (And You’re Probably Not)
Jerry Yoshitomi wrote a brilliant article last October. And in learning and unlearning of audience development skills, all too often marketing people are brutally disrespected by the other areas of the organization. I’ve heard marketing departments referred to as “a necessary evil” dozens of times.
Compare the following sentences:
“Anyone can market your arts organization.”
“Anyone can market your arts organization SUCCESSFULLY.”
“Anyone can act, paint, sing, dance, sculpt, direct, and play the tuba.”
“Anyone can act, paint, sing, dance, sculpt, direct, and play the tuba SUCCESSFULLY.”
Don’t be caught in ancient thinking. Just because all consumers react to marketing doesn’t make them good marketers. Treat marketers as you would treat other artists, because that’s what they are. They are the best interpreters of your product to the public. Don’t stand between them and your organization’s success.