Successful Nonprofit Arts Organizations, Like Successful Buildings, Depend on Successful Hierarchies
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.”
Artists vs. Craftspeople – Nonprofit Arts Organizations Require the Former to Act as the Latter
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.
Nonprofit Arts Organizations Without Flexibility Present a Disconnect When It Really Matters
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?
Nonprofit Arts Board Members, Executive Directors, and Staffs: Has Your Board Been Assimilated? Have You?
Board membership for a nonprofit arts organization is a privilege. It requires commitment of time and money. It requires the urge to change things for the better.
It’s not for self-aggrandizement. It is not about being thanked endlessly. It’s not about banquets, galas, and being fed.
It’s a job.
Group thinking can be inspirational, but “groupthink” can poison your organization’s health. When your board only votes unanimously, for example, or the newly-approved mission is just reverse-engineered to current activities and reduced to pabulum, you may no longer have a board. You may instead have a Borg.
Borg members wait for orders. They don’t debate. Resistance is futile.
The Borg is powerful. Borg Presidents lead by autocracy. Borg Queens (often founders) drive staff away by insisting the organization’s activities revolve around them. Borg Drones atrophy.
Board or Borg?
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.
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]
How You Can Solve Diversity With Your Nonprofit Arts Organization!
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.
Quantifiable Outcomes and Social Impact Applies to All Nonprofits – Including Arts Organizations
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.
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?
The Correlation Between Snowflakes and Nonprofits
What is the purpose of a snowflake? Just a type of precipitation, one of four phases of the water cycle?
What is the purpose of a nonprofit? To change the environment so that a heretofore unrelenting bad thing gets better or goes away?
One snowflake is different from all other snowflakes. An unprovable, but accepted theory. Akin to “no two fingerprints are exactly alike.”
Your nonprofit is different from all other nonprofits. A provably unacceptable theory. Akin to “if you build it, they will come.”
Differentiation is crucial for nonprofits to thrive. But if trivial differentiation exists among two or more, then collaborate. Or merge. Or close, if that disentangles the knotty societal issue. Survival of any nonprofit is irrelevant if the issue isn’t solved.
Finally, snowflakes are fun to catch on the tongue. Nonprofits really aren’t.
137 Words 