Thus Rises The Individual Curator and Commissioner

by:

Joe Patti

There was an intriguing piece on Wired last week (h/t Thomas Cott) about an alternative approach to funding events via Kickstarter. Andy Baio talks about funding record projects, conferences and festivals by essentially lining up the speakers/performers/resources and then seeing if anyone is interested in buying tickets to the proposed events/project. If there isn’t enough interest, it doesn’t happen.

What was most interesting to me is how this type of approach really empowers an individual to curate a project. You may not be an artist yourself, but you have an idea of what combination of artists and concepts might be compelling and then can set out to bring it together.

While this is sort of my job already, there is something of an expectation that there will be balance in those I invite. I have a certain responsibility to make sure my facility and events are being run in a fiscally responsible manner. An individual isn’t necessarily saddled by those expectations. They can do a project as a one off and no one is concerned about whether their activities are serving the needs of the community.

Makes me wonder if this might be a potential mode of operation for the future. One of many that might replace the non-profit arts organization.

If taken at its face, this approach seems shift some burden to the artists/speakers being invited. If the event doesn’t happen, will they get paid? While Baio doesn’t explicitly mention it, I am guessing you would have to provide some sort of guarantee of payment to the artist/speaker regardless of whether the performance happened or not. Baio alluded to this in a couple places, including his requirements for these projects.

Projects like these have three big requirements.

Strong, achievable concept. Commissioned works should be scoped down to something realistic, because you’re paying for their time, but high-concept enough to capture the excitement of other fans.

Organizer. The funding may come from the crowd, but there needs to be a single person managing the project and handling all the logistics and small details.

Due diligence. The organizer will need a firm agreement from the artist, committing to a timeline, payment, and any other demands. Also, if the project results in a tangible work, determine who owns the rights to it before you start raising money.

While most artists and speakers like being paid, they like to be seen and heard even more so there is also some incentive for them to help promote the cause. It may not occur too frequently at present, but it could certainly become commonplace if the practice of running a project up the flag pole becomes more wide spread.

The other thing, of course, is that it turns your audience into much more active advocates for the work because there is a possibility it won’t happen. We know that many audiences today, especially among the younger generation, tend to wait to see if something more interesting might come along before buying a ticket. Since the performance will occur regardless of their commitment, there is no incentive to commit. The threat that the event might not happen can garner an increased investment in its success even if it is only that people continually check the progress of the funding to see if the event will happen.

A commenter to the piece pointed out a service in Brazil which rewards the early adopters. It sells refundable tickets to a show until the minimum is met. Once the event has secured its funding, it starts selling non-refundable tickets and apparently starts reimbursing the purchasers of the refundable tickets up to the their full purchase price.

Info You Can Use: Doing Business With Board Members

by:

Joe Patti

Since I am on the topic of board decisions this week, Non Profit Law blog recently listed a link about non profits doing business with their own board members.

While it is natural for non profits to seek out people from specific professions/skillsets to be on their boards in order to provide some expert guidance and advice, things get a little sticky when it becomes necessarily to contract professional services.

Since board members often have a personal investment in the organization, they may tend to charge extremely competitive fees for their services. As the article notes, it can also be a little awkward to be talking about paying someone else to do work that a board member in the room is perfectly capable of performing.

The article notes that not only is it difficult to avoid having some business dealings with your board members, it may be hard to actually get good people to serve on the board if they perceive there will be undue scrutiny of how their professional and volunteer activities overlap.

However, it is important to have a conflict of interest policy for board service. Failing to have one and follow it create potential problems for the organization, especially given the role non-profits serve in their communities.

Experts say one danger of so many veteran board members is that a nonprofit could lose touch with how a community perceives the awarding of contracts to members of its own board.

“Public legitimacy and support are very important, and a more isolated board may not be as aware of that,” said Francie Ostrower…

[…]

Board Source , an organization for nonprofit boards recommended by the National YMCA, suggests that board members who want to do work for the organization should donate their services. If they can’t, they should follow the board’s conflict policies.

Other critics of the practice such as Joshua Humphreys, a fellow at Tellus Institute, a Boston policy think tank, take a dimmer view.

“Best practice for nonprofits is to draw a bright line between board service and doing business with service providers,” said Humphreys. “It creates divided loyalties between the public purpose of the charity and the private gains someone is motivated by.”

Siegel (Jack Siegel, Charity Governance) said the practice chips away at the independent thinking of board members who are the recipients of contracts, as they tend to side with their supporters on the board in other matters.

“If you see conflict (of interest), you can almost bet there are other problems in the organization,” Siegel said.

The article goes on to quote Siegel pointing out that it is difficult to hold the work of board members to the standard you should because you have a relationship with them. This point struck a sympathetic chord with me as I remembered some occasions in my career where the quality of the work by a board member was never in question, but changes to elements no one really liked were never requested for fear of offending the board member by questioning their style/taste.

One of the suggestions for eliminating the conflict is that the person leave the board for the duration of their company’s contract under the assumption that if the person is really invested in the success of the organization, they will extend the same discounts as they would when they were serving.

What the article doesn’t mention is that if they don’t extend the same discount it may actually be better for your relationship with the person. If all those involved feel that a fair market price is being paid for the work, there is less potential for resentment on the part of the service provider over sacrificing time and income on a difficult project and less hesitation on the part of the non-profit to assert that their standards be met.

Still, this is all easy to say in theory. In practice, you run into the old question, “how do you fire a volunteer?” When people generously provide time, energy and expertise, they are investing a lot of themselves personally. It can be difficult to refuse their help without making it seem like you are refusing them as a person.

That is why it is good to have a well-constructed conflict of interest policy to which to point. When the situation arises where a board member will start to do business with the organization in a significant way, you can point to the policy and note that providing the service will, of necessity, change the board member’s relationship with the organization and as such the following actions must be taken per the conflict of interest policy.

Board Source has some general information on conflicts of interest on their website and some samples conflict of interest statements for purchase and download. (I have never read them so I can’t attest to their usefulness.)

To Close Or Not To Close, How Much Debt Is Too Much?

by:

Joe Patti

A little over a week ago I received the news that one of our partner theatres decided to close its doors. That sent the rest of us scrambling to contact artists to see if we could salvage the tours with which the organization was involved.

The board has said they want to revise their business plan and perhaps reopen in 2013. In the meantime, come this Friday, the entire staff is out of a job. I am wondering if they will be able to resolve all their grants and settle other business in that time.

A conversation I had about their closing has had me thinking over the last week. When I read the news about their closing, I was somewhat relieved to learn the organization was $200,000 in debt. Given the debt amounts you usually see associated with failing arts organizations, this is relatively small. Though it is also more significant for their $1 million annual budget than for those with $10 million budgets.

Referencing this debt, a colleague asked if they couldn’t have simply gotten a line of credit from a bank to enable them to stay open. This got me thinking about how you determine when it is time to cease operations.

Given that they intend to revise their business plan and hope to restart operations, would it have been better to attempt a reorganization through the next season rather than lose momentum with their community and funders by closing?

Or given that their debt is about 20% of their operating budget, did they do the responsible thing by deciding to close in the face of what I assume to be dwindling attendance and fundraising prospects? Why saddle your new business plan with the burden of another year’s accumulated debt?

In the last couple weeks I read an article/blog post that criticizes a non profit board of a YMCA for being oblivious to the state of their failing organization. The article suggested the board should have seen the warning signs had they been paying attention to the financials.

Our partners were clearly paying attention and decided to do what they felt was the responsible course of action. There isn’t really any clear cut formula which dictates that you should close your business when your debt reaches a certain ratio of your budget because there are so many situational variables each organization faces. What one company can recover from may mark the start of a downward spiral for another.

I am curious to know at what point people think organizations need to close. Does seeing other non-profits rack up huge debts before closing or declaring bankruptcy inure us and make organizations more apt to keep operating under the assumption they haven’t reached that point of no return yet?

Right People, Not Right Product Make A Great Company

by:

Joe Patti

So as something of a follow up to my post earlier this week asking if foundation boards embrace non-profit values, I wanted to point to an article about what private enterprises can learn from non-profits.

The five points the article emphasizes are connecting with the community, understanding what motivates your employees, creating long term value, valuing people over the program or product and improvising.

Many of these points are representative of what the arts can bring to private businesses. While I don’t think the arts are exemplary in the diversity of employees and audiences it serves, improving that situation is a major topic of conversation and can help lead others to the questions they should be asking about themselves.

Likewise, while it may seem that non-profits don’t have a sterling record in respect to overworking employees, they do understand what motivates people to dedicate themselves to a cause in return for little material reward.

Lately one subject that seems to come up frequently is the idea that private companies have an unhealthy focus on short term gains at the expense of creating long term value. Many companies are starting to see that focusing on corporate social responsibility (CSR) is crucial for doing business.

It almost seems that if the non-profit sector can come up with an effective program to engender even a partial shift toward a longer view, a great service will be rendered.

The one point I especially liked in the article was that great people have more value to a company than great products and services. I think it can be easy to forget that when you are being evaluated based on the numbers you achieve (which is especially the case for non-profits’ administrative cost ratios)

4. The right people (not the right product or program) make for a great organization (Chris Pullenayagem, Director, Christian Reformed Church)

Many private (for profit) organizations rely on products or processes or programs to be successful in their business. For those that do, this seems to be an inverted way of pursuing excellence. People bring vision, passion and creativity to their work as evidenced in non-profit organizations. If the right people are hired, every organization will move towards excellence in achieving its vision and what it was mandated to do. Any organization can show results, but only this type of organization will thrive with excellence.