Tag Archives: entertainment

Successful Nonprofit Arts Organizations, Like Successful Buildings, Depend on Successful Hierarchies

Gaudi

Level One:

Bricklayers.  Carpenters.  Stagehands.  Electricians.  Actors.  Musicians.  Painters.  Singers.  Writers.

Easy to find hacks.  Difficult to find experts.  Project-based.

 

Level Two:

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.

 

Level Three:

Contractors.  Directors.

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.

 

Level Four:

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.

 

Level Five:

Owners.  Boards.

Tiny, zealous universe.  Hire Level Four.  Determine “how.” Has personal stake.

 

Level Six:

The Community.  The Mission.

Top of the hierarchy.  Determines “why.”

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Artists vs. Craftspeople – Nonprofit Arts Organizations Require the Former to Act as the Latter

hat

Artists produce work from their creative souls, nurtured by a series of cultural, environmental, and psychological motivations.  They create “a hat,” as Stephen Sondheim once wrote, “where there never was a hat.”  Talented artists create from their current state of mind, without boundary.

Craftspeople produce work to fill a need.  They possess a series of cultural, environmental, and psychological motivations which channel into art that produces a desired impact.  Craftspeople create hats because they’re the best answer to a question.

All craftspeople are artists at their core.  Many artists have no capacity to become craftspeople.

Nonprofit arts organizations require craftspeople.  If the organization is more important than any artist, and the mission is more important than the organization, then employees on the organizational chart need to be, by definition, craftspeople divining an impact, not artists divining inspiration.

Feedback from You (yes, you): 9 Words That Describe the Nonprofit Arts Issues That Are Placing You at the End of Your Rope

rope

This blog, as most are, is pretty much one-way.  I share experiences, advice, consultation, and observations; you read ’em.  I can discuss 1,000 issues that affect nonprofit arts organizations.

But that’s me.

What keeps you up at night?

What concrete issue (not just “there’s no funding for…”) is fraying your rope?  Or better, what issues are figuratively tying a noose around the end of your rope?

Here’s your assignment.  In 9 words (no more, no less), write that issue and send it to info@137words.com.  That’s it.  Beginning in August, we’ll periodically take each issue and I’ll give my take.  Then we’ll open up the discussion to everyone who reads 137 Words.  Let me know if you’d like your name in or if you’d like to be anonymous.  And if you’d like my help privately, let me know that, too.

Transformational Persuasion: Muhammad Ali, George Foreman, Donald Trump, Hillary Clinton, and Why It Matters – Especially When You’re Running an Arts Organization

ali

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?

Talk to Me Like I’m 10: a Lesson in Long-Term Planning for Artistic Directors and Board Chairs

talk to me like I'm 10.jpg

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.

Nonprofit Arts Executives: After the Ask (for anything, actually), It’s Fast “Yes,” Slow “No”… Try a Slow “Yes” Instead

nofrog

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

safespaces

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:

  1. You are not special.
  2. You do not deserve success.
  3. 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

erasse2

“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]

How You Can Solve Diversity With Your Nonprofit Arts Organization!

race

You can’t.

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

Shakespeare Marx

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.”

Case in point:  the brilliantly entertaining, best-people-in-the-world-to-hang-out-with, fucking funny Reduced Shakespeare Company.

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.

Arts Organizations: What is Your Art? Is it “It?” Is it a Picture of “It?” A Report of “It?” None of the Above?

headline earthquake 240z

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.

 

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