Giving, Rather Than Sacrificing

by:

Joe Patti

I was thinking last week about the growing sentiment that non-profit organizations should resist the impulse to do “more with less.” The idea being that it gives funders, boards, government entities and the public an unrealistic view of what the real costs of programs actually are and is likely to cause burnout among employees.

The quality of all programs will probably suffer in an effort to make up for the loss of funding to one, as well.

Although it would really hurt organizational pride and morale, the suggestion is to eliminate the program rather than stretching and stressing yourself even more trying to maintain it. That way, at least the consequences of low funding are unambiguous.

A cynical thought crept into my mind that some organization of younger workers unfettered by concerns of good pay and work-life balance might come along and belie your insistence that the program couldn’t be supported, by happily suffering through its execution.

But soon I got to thinking, why not let them? Not that you should welcome an under-captialized organization with unrealistic expectations, but if there was someone qualified who thought they could do a better job, maybe your organization should hand over your files to them.

I started to wonder if many non-profits had really ever thought of this. Most organizations are aware of people doing similar work in their region, whether they are viewed as competitors or providing parallel services. If you are being faced with having to eliminate a program, but are conflicted and a little guilty thinking about all those whom you serve losing something they valued, perhaps it is best to give your program materials to a group that possesses better resources or sees that program as one of their core competencies.

Once you no longer view each other as competitors, there may be room for constructive partnerships. For example, a performance venue who is seeing their K12 school show program flounder due to decreasing availability of bus money might direct their clients to a group that performs in schools, but doesn’t have their own facility.

The traveling group may benefit from the additional contact list, as well as costumes and props that the venue will no longer be using. In return, however, the traveling group may still do an occasional school show for the venue or may produce a series of weekend family matinees at the venue, allowing the venue to continue offering family programming without having to bankroll the development.

Or perhaps both groups wanted to do an after school program, but neither had all the resources they needed to pull it off. Yet as partners, they do.

By the end of my musing, I started to think that trying to do more with less and hold on all your programs might not only be harmful to your organization, it might also impede constructive partnerships.

Instead of looking around at other groups as competitors for the same pie, which granted is increasingly becoming the case, it may be more productive to evaluate what other people are doing as well, if not better than you, with an eye to possibly having to cede that to them.

Times when things are going well are probably best to consider these issues because it also allows the time to evaluate potential partnership options while free of financial panic.

Perhaps you will decide to transition things away before a critical decision ever needs to be made, when your program still remains vibrant and is a worthwhile addition to another company.

No organization should be in a mode of constantly contemplating its demise. I know many elderly start mentally ear marking who will get what when they die, if they haven’t already started actively giving things away. I don’t think that is a healthy way for a non-profit to operate.

It should know where its strengths lay, what its core functions are and what things occupy a more secondary role. Strive for excellence in everything and shine in the community, but be consistently clear about what the priorities of the organization are.

Boards and staff members are likely to have strong emotional attachments to the work that your organization is doing, and probably rightfully so. An open and ongoing conversation about what another organization is doing well can help to motivate your organization to step their game up and do a little better.

But having an open conversation about the organizational priorities as well as what other organizations are doing well may ease the decision to cede/transition a program away if the staff and board has regularly acknowledged the worthiness of another organization to do the work that is being set aside.

Being Goldilocks

by:

Joe Patti

My hair like Jesus wore it
Hallelujah I adore it
Hallelujah Mary loved her son
Why don’t my mother love me?

These lyrics from the eponymous song of the musical Hair has always struck me as a great expression of the conflict an artist faces.

On one hand, you have to dress and appear professionally enough that you gain the confidence of potential employers, donors and granters.

On the other hand, you have to possess enough of an artistic aura, either in dress or behavior, that people will believe you are an artist. Appear too conventional and you cast doubt on your artistic abilities.

Working on a university campus, I been feeling a little tug of this conflict. It wasn’t a big problem in Hawaii where even bank presidents wear aloha shirts, albeit tasteful $200 silk aloha shirts.

But now I look out across campus seeing administrators running around in dresses, suit jackets and ties (not simultaneously) and I am reminded of these cultural expectations.

Because at the same time, I am out walking down the street every day to get lunch and how I dress as the director of the performing arts center contributes to the perception of what sort of people are welcome as audience members.

Probably nothing to be done to relieve folks in the arts world of this Goldilocks requirement of avoiding extremes.

So don’t neglect to wave those golden locks!

http://youtu.be/7dyl0j3WU6Y

No, Humanities Don’t Suck

by:

Joe Patti

Some of you may be aware that there is a fairly active debate about the utility of humanities degrees in progress. Some governors are proposing students pursuing STEM majors pay a lower tuition than those pursuing humanities degrees.

There are studies that show while humanities majors make less than business and science majors right out of graduation, they end up making more 10-15 years down the road.

“Undergraduate professional degrees frequently lead to relatively high starting salaries and relatively flat pay scales thereafter. Humanities undergraduates may struggle more in the first few years after graduation, but in the long run they frequently find career paths with greater long-term growth potential; the skills in reading, writing, and critical thinking that we all talk about turn out to have real-world uses. Students and the general public legitimately worry about employability, but there’s no reason for us to surrender to the mistaken belief that humanities degrees are a poor investment.”

Studies like this and the Strategic National Arts Alumni Project (SNAAP) are helping to collect data to refute the idea that humanities majors are useless.

The technical director for my performing arts center and I were talking last week when the conversation turned quickly to the value of the performing arts as a major that confers real world skills.

If you are reading this blog, you are likely already aware of most of them: You learn to plan a project invested with your own personal vision; research your portion of the project; present and execute your part of the project as part of a team.

Some arts disciplines require you to cross train in both technical and performance roles. All performing arts disciplines require the practitioner to possess some degree of empathy.

These are all skills that pretty much every business desires in an employee.

Then there is the big benefit–the unambiguous deadline.

One of the things I know drives college professors crazy is when a student says they can’t finish the paper and can they hand it in on Monday. If this option is denied, the student often enlists parents and administrators on their behalf. For all the good reasons the professor may have for not allowing this exception, a Friday versus Monday deadline appears to be somewhat arbitrary.

But when the performance time comes, that is the inescapable deadline. Well, I suppose it is escapable, but the time to “hand in” your assignment comes and passes with or without you. Whether it is submitted and what the quality of the work is apparent as are the consequences, if any.

One can always fake it and one’s parents will frequently speak praises regardless of whether they are earned. There is no guarantee a student will graduate with good organizational skills.

However, performance is an area where practical skills applicable to the real world are taught because the end product is meant to be consumed in the real world.

These are all skills that clearly do matter and have real world applications. The message that the humanities don’t matter undermines the teaching of these skills.

In the process of getting someone ready to give a public performance, there are many smaller scale performances conducted in more private environments. The stakes are much lower so it is easier to be irresponsible about handling your contribution.

But each one of these times instills the abilities needed for that big public performance. For many people that culminating event may not be on stage, but pitching an idea in the boardroom of Johnson & Johnson.

Info You Can Use: Is This A Bully I See Before Me?

by:

Joe Patti

With the recent ruling about unpaid internships being illegal kicking up a conversation about the necessity of internships to secure a job, the topic of bullying in the workplace is apropos. Especially for the arts.

Situations like this can bring on a lot of pressure to those trying to cultivate a career. No place more so than in the arts. In fact, unpaid is more often the situation regardless of whether you are in an internship or not. Even if you are getting paid, you might be subject to all sorts of pressure and abuse in the highly competitive arts industry.

A researcher from Chapman University is conducting a survey of people’s experience of bullying in the performing arts.

Those who have an interest in the subject might want to check the survey out. It is being conducted with formal research protocols including informed consent statements.

The only really explicit incidence of bullying I can remember is someone using the cliched line that they would ruin my career before it even started.

There are probably opportunities for conversations about these and more subtle issues. For instance, when does cajoling to stay late, be a team player and help with strike go from group camaraderie to bullying?

Researcher Anne-Marie Quigg has studied this issue, focused primarily on the UK and wrote a book on the subject. There were a number of conversation sessions held in London last month on bullying that occurs in the arts. Some brief notes were posted online for each, including the question “Who looks after the ones who aren’t “artistic?”