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.”
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.
There’s a saying that every weapon that’s been invented has been used. Or will be.
Similarly, every technological advance of the last 30 years has been used. Or will be.
More avenues of communication. More personalized offers. More database data. More news. More marketing. More music. More art. More words.
Not “better.” “More.”
This is not code for “I’m old and yearn for a simpler time.” I’m not and I don’t. What I yearn for is a better time.
Regardless of how many ways key information is dispersed, some folks just don’t consume it. And that’s on you.
I should know. You may be engaging with this post (and thank you), but others who could, don’t. And that’s on me.
A blown basketball pass is the passer’s fault. But a bad pass isn’t solved with throwing more basketballs.
Inevitably, there are moments where analysis disconnects with sentiment. You plan by yourself and generate work for your staff. Your staff objects. You have misread the room and caused great resentment. They think you’re a nut.
You’re in a big job interview. The interviewers say they want to “have a conversation,” but instead read from a pre-chosen list of questions. You try to converse. They bridle, citing “fairness.”
Your meetings with the board leave you rolling your eyes…and leave them rolling their eyes as well. You think they don’t understand the problem. They’re sure you don’t.
When you lead by pronouncement rather than by consensus; when you define interviews as interrogations; when you perceive meetings with superiors as continual performance evaluations – these are your issues, not theirs. That anxious sweat on your neck is on you.
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.
Life on the Unraveling Nonprofit Arts Fringe: Why Hiring Experience and Guile Trumps Everything Else
Actor Hugh O’Brian is said to have coined “The 5 Stages of an Actor’s Career;”
- Who is Hugh O’Brian?
- Get me Hugh O’Brian.
- Get me a Hugh O’Brian type.
- Get me a young Hugh O’Brian.
- Who is Hugh O’Brian?
We’re in contact with hundreds of highly-experienced, resilient people who have made a career in the arts – and they’re having difficulties getting back into the field.
Some of it is ageism. Boards use headhunters to find smart young guns to lead departments or organizations — only to find that instead, they’ve hired brilliant 2-year placeholders with few people skills, entitlement issues, little flexibility, and quick parachutes.
Studies show those >50 stay longer than those under <40, are more productive, have better improvisational skills and flexibility, and are likelier to bring success.
Forget headhunters. Do your own search. Hire someone better than you.
If You’re _____________, Then Your Nonprofit Arts Organization is Probably Unsustainable (with apologies to Jeff Foxworthy)
- not paying your executive director because s/he is independently wealthy and actually donates 6 figures to the company;
- working 70 hours/week every week and see nothing wrong with that;
- hiring part-time employees and expecting them to work full-time free of charge;
- of the belief that your employees are less important than your equipment or your building;
- insisting that anyone besides your marketing director is the final word on your marketing;
- keeping your artistic director away from donors because s/he doesn’t know how to interact with them;
- in the mindset that any of your people are more important than any other of your people;
- playing “Dialing for Dollars” to meet your payroll;
- arguing that “keeping the base” is more important than expanding the audience, while…
- thinking that you can do both;
- sweating a little right now after reading this post.
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.
Calculate the hourly consulting rate of the people in the room (for example, 15 board members x $100/hour = $1,500/hour). At $1,500/hour, do you want to talk about the past or the future?
Board members, inside the meeting room…
- Never do what the last person in the conversation advocates. It’s a trick manipulative people do.
- Consensus is not unanimity; votes needn’t be unanimous. After the decision is made, however, everyone needs to back it.
- No devil’s advocates; take responsibility for your disagreement.
- Read the ED’s report beforehand. EDs: issue your report at least a week before the meeting.
- Your ED is not responsible for writing and executing your strategic plan. You are.
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.
There are an endless number of costly, effective CRM systems for the arts. One costs hundreds of thousands of dollars and it’s superb at what it does.
One might say, “It had better be.”
Before that expensive, expansive piece of software, there were others. Some great at some things, some at others.
Not one of these pieces of software ever raised a dime. People do that.
Not one of these pieces of software ever performed, exhibited, or created a compelling artistic experience. People do that.
Not one of these pieces of software ever governed, advocated, cajoled, or counseled. People do that.
Before CRMs that cost various ulnae, fibulae, and tibiae, there were inexpensive off-the-shelf database software solutions.
Before that, we did it all on paper.
Millions attended. Millions still do.
And the best relationships are still person-to-person.
Leadership by Forcing Audiences to Follow: “This is How We’ve Always Done It” Didn’t Work in 1776 and It’s Not Working Now
Overall, there are 28% fewer television viewers between 18 and 49 than there were 4 years ago. The average television viewer is now 50.
They’re streaming and DVRing. “Appointment Television” is becoming increasingly obsolete, apart from the Super Bowl…so far.
Broadcasters are sweating bullets and taking golden parachutes. It’s guerrilla consumer behavior and to them, it’s just not fair.
Just like the Colonial armies – they didn’t stand in neat, straight lines as the British did in the Revolutionary War. They broke the rules of battle. Not fair.
Just like younger people bolting from old-school arts organizations – those whose customs and rules work for the producer without working for the video streamer. Not fair.
Predictable, season-oriented, excellently-produced but inadequately result-oriented programming has become today’s version of Artistic Redcoats. Pretty, stubborn, old-fashioned, and easily destroyed by Artistic Neo-Colonials.
Guess who wins that battle?
Omnibus Festa, Omni Tempore: Raising Money to Spend on the People Who are Raising Money to Spend on the People Who are Raising Money to Spend on the People Who are Raising Money…, etc.
The 1980s and 1990s were the golden years of galas for arts charities. Mostly because there were fewer of them. But also because high percentages of the money actually went to the organization.
Today, putting on massive galas to feed donors – netting scant revenue to the charity but plenty of “goodwill,” “friend-raising” and resume padding – are often construed as elitist, inefficient modes of raising income.
One annual gala, or perhaps groups of organizations sharing a larger gala and splitting the receipts, might thin out the calendar and make them more financially effective. Hundreds of hours of employee and trustee resources might well be better spent on relationship-building, not napkin swans..
Attracting Millennials to the arts isn’t the easiest thing in the world. What worked with the Greatest Generation hasn’t worked with Boomers or Millennials.
This summer, Coca-Cola put names on the bottles (common first names for those born in the 80s and 90s). Then, a Coke turned into something about “me.”
Look what I’m drinking… it’s me!
We’ve also seen hundreds of bucket challenges to support ALS research, which is great. The product sold in the videos is “me.”
Look what I’m using to do good in the world… it’s me!
Marketing the transformative experience of the arts works best when it’s about “me.”
Look at that amazing artwork/ballet/opera/play/musical… it’s me!
If you can make the experience about the patron (not for the patron), you’ll have a fan for life.
Or at least until the next big thing.
Paul Begala said, “Politics is show business for ugly people.”
The converse, that show business is politics for pretty people, is equally true.
Pretty (young) people enter nonprofit arts leadership believing that they should land a high-paying managing director’s job within 3 years. Ginormous student debt is predicated on that prospect.
Ugly (old) people, therefore, had better vamoose, and decrease the surplus population, to paraphrase C-Dick.
Pretty people panic at red ink. They leave. No experience or belief in failure.
Ugly people see an opportunity. They know when to duck and when to charge.
Consider for your next important hire:
- When hiring for “fit,” by definition, you’re hiring to appease. Don’t expect much change.
- When hiring for “innovation,” you’re hiring to anticipate obstacles. And only someone who has experienced obstacles (and carried on) knows how to do that.
Artistic events evolve. The elements may be eons old, but the results continue to change. With the squeeze of a contraption, like Play-Doh® in a Fun Factory, necessarily comes a different product. Different from the time before. Different from the next time.
This is a job for Marketman©, a copyrighted portion of this publication. Marketman© (not necessarily male) is your company’s Sea Gal/Jay Carney/Don Draper/Rob Petrie. Marketman© is charged with the task of launching a product to market, eliminating it, subsequently launching a new product.
Marketman© sells art, not tickets. There is no lasting inventory, like month-old sodas on the shelf, when the new product is introduced.
Sadly, few people know “Profiles in Courage.” Ask around.
Among performing arts charities, some leaders shrewdly keep their positions because they fear appearing impolitic. They seek sustainability for themselves first, and then, secondarily, their organizations.
To them I implore:
- Pay performers wages, on the books, legal standard or better, for every hour they spend: rehearsals, performances, fittings, etc.
- If your charity isn’t making a substantial difference, merge or close. If it is, share your secrets.
- It’s about social progress, not black ink. Both are preferable, but you’ve failed if your best work is 30 years of balanced budgets.
- Take a stand. Don’t buy trouble, of course, but don’t become invisible to save your own skin.
- Theatres: plays aren’t written, they’re wrought. It’s about the production and the viewpoint, not the script and sets.
- Do something. Don’t be something.
Have You Heard? I’m a “Bomb-Throwing Provocateur!” Who’d Have Thought an Artist Could be One of Those?
A few posts ago, we talked about the enmity brewing between the arts charities and the rest of the charity sector. That many US arts charities concentrate on the quality of their art while the rest of the sector concentrates on outcomes. That arts charities are pretty much the only part of the charity sector in which the donor also uses the charity, exacerbating the arts’ reputation as being elitist.
Responses were 50-50. Those that agreed tended to come from arts marketers and fundraisers while the rest came from artistic directors and producers. Break it up…nothing to infer here.
Funniest comment was from a 36-year arts veteran decrying elitism; it’s part of the title here. She could have said, “You’re an asshole.” Or “jerk.” Or just plain “wrong.”
I might be all those things. After all, I’m an artist.
Women’s issues are not about women. Race issues are not about people of color.
And when Mars attacks Oklahoma, the issues will not be about Oklahoma.
I visited a domestic abuse nonprofit. They do great work, but are ghettoized by donors as a “women’s issue” charity. The executive director wondered how they might be able to globalize the cause (and increase revenues).
“Domestic abuse is a societal problem,” she complained. “And I worry that without some men providing disinterested advocacy, we’ll only attract women donors.”
But every time she interviewed qualified men for marketing or development positions (and they’d graduate to a final 10-on-1 group interview), the staff and board balked. “Just not a good fit,” they’d euphemize. And they’d recommend another qualified woman.
Is your charity’s issue exclusively yours? If not, how are you communicating that?
Hypothetical: Strategically speaking, what would your charity do if money were not an issue at all?
The answer to this question is significant. Because if it begins with anything but “we’d do exactly what we’re doing now,” then it’s likely that either you or your mission have to go.
I live in a 1950s house. Typical low ceilings. Small, utilitarian rooms. If I had all the money in the world to renovate it, I’d enhance its 1950s nature, not build 4 additional stories to get a Puget Sound view and in doing so, ruin the house’s charm.
Same with charities, arts or otherwise. You created a mission for a reason…there was a need. A societal wrong to be righted. If you want to accomplish something other than your organization’s mission, go do it.
Just do it somewhere else.
Happy Passover. Story goes: Jews escaped slavery and spent 40 years finding “the Promised Land.”
A popular idea on why it took so long: the generation that escaped were slaves. The generation after that was prepared to lead the new world. People found leadership abilities only after shedding the slave mentality.
When a change in staff or board leadership occurs, it is incumbent upon the incumbent organizational leaders to adapt, not the other way around. You didn’t hire (or elect) a “new” former leader. You hired an exemplary individual with different (but complementary) values, aspirations, and ideas. Shed the mentality of an organization run by the previous leader. That culture vanished when that person left.
If you’re the new leader, remember that you were hired to lead on your terms. Your feet won’t fit in someone else’s footprints.
I love production managers. The good ones tend to come from a background of experimentation. Using the improv-tested training mantra of “Yes And,” their work ethic promotes wildly thoughtful experimentation.
I love marketing directors, too. Good ones aim for reaction rather than beauty. No fan cares about “Addy” awards. They care about having a personally meaningful experience.
Innovation in arts charities need not be limited to the production manager or marketing director, the two lead staff members dedicated to translating the art to fans.
To innovate, all you need to do is innovate. Which requires…
Identifying the need…
Honor for the ideas of the team…
Synthesizing the data…
10% more time than is available…
500% more patience…
A vision of success…
And the acceptance that, as more than one production manager has famously said, “This could suck.”
How to play:
Players select their tokens to start play. Each token designates their role in nonprofit art.
Marionette: Performing Artists/Designers
Blob of Clay: Writers/Composers/Visual Artists
Pawn: All technical/administrative/volunteer personnel (one token represents all)
Change Purse: Audience
Louis Vuitton Pocketbook: Donor/Funder
Fake Louis Vuitton Pocketbook: Development Director
Bent nail: Managing/Executive Director
Telescope looking up: Artistic Director/Curator
Microscope looking down: General Manager/CFO
Bloody leech: Critic/Journalist
Sorry: designated tokens for marketing/pr directors were deleted in the last budget cycle.
All players spin the Great Glass Wheel Of Art simultaneously in all directions and yell, “I Wanna!” The Wheel comes off its bearings; breaks into millions of pieces. Players move tokens anyplace in the room that feels most advantageous, regardless of the playing board or other players.
End of game:
Chaos. All players proclaim victory. None actually win.