X Degree + Y Experience = Happy Employer?

by:

Joe Patti

Over at Marginal Revolution blog, Tyler Cowen draws attention to two studies, one that suggests that internships are more valuable than business degrees when it comes to finding a job. The researchers sent out over 9000 fictitious resumes to jobs  in banking, finance, management, marketing, insurance and sales. Some applicants had business field degrees, others had arts and sciences degrees like history, English, biology and psychology.  As a liberal arts major, I am encouraged by the first sentence.

Despite applying exclusively to business-related job openings, we fou nd no evidence that employers prefer to interview job seekers with business degrees over applicants with nonbusiness degrees. In addition, there is no advantage, in terms of job opportunities, associated with a particular degree; that is, students with particular business degrees (e.g., finance, marketing) fare no better than students with particular non-business degrees (e.g., english, psychology). However, we fi nd strong evidence that internship experience improves employment prospects in economically and statistically signi cant ways. Applicants who were assigned a three-month internship (Summer 2009) before they graduated with their Bachelor’s degrees (May 2010) receive about 14 percent more interview requests than those who were not assigned internship experience. The “return” to internship experience is quite large for both business and non-business majors, but it is economically larger for non-business degree holders than that for business-degree holders…More research is needed to better understand the channels through which college degrees and internship experience aff ect employment prospects.”

There has been a lot of discussion about unpaid internships in the arts, including one last week on HowlRound. These discussions often raise the point that the internship system favors those with the financial and familial support to survive while making little to no income.

The question I wanted to address in the context of this study, however, is whether a degree or experience is more important for the practice of arts management.

A good number of job listings out there require an MFA. If they will accept experience in the place of an MFA, it is as much, if not more, time than would have been required to complete the MFA.

For instance, a recent job posting for the Executive Director of Buffalo Studio Arts requires “Master’s Degree, plus 2 or more years experience at a not-for-profit organization, preferred; Bachelor’s Degree, plus 5 or more years experience at a not-for-profit organization, acceptable”

Another for the Executive Director of the Graham Center at Florida International University required “Master’s degree in an appropriate area of specialization and eight years of experience; or a bachelor’s degree in an appropriate area of specialization and ten years of experience. ”

Now given that a Master’s degree can take 1-3 years to earn, with an MFA being 2-3 years, these jobs can be viewed as requiring slightly more or equivalent experience from a person without a Master’s.  With the first description only deeming a Bachelors and experience as acceptable, it seems you are at an immediate disadvantage without that Master’s. This verbiage is not at all uncommon.

As for the second description, if a person with a BA has 8 years experience, there probably isn’t much more to be gained in those additional two years to bring them on par with a person with a Master’s degree. They are either as good or better at year 8, or they aren’t.

In the Buffalo example, I think the determining factor comes down to opportunities which translates to experience. A person with a Master’s and two years of good opportunities is  going to be preferable to a person with a BA and five years of poor opportunities. But a person with a BA and three years of good opportunities is easily going to be preferable to a person with a Master’s and three years devoid of practical experience.

But is that how arts employers approaching hiring? Perhaps they do and just use that Master’s = Bachelor’s + Experience to signal expectations and encourage people to self select out of applying. Not that it keeps 50 unqualified people from applying for every qualified person.

My suspicion is that many arts employers adhere closely to that equation to make it easier to sort through the 100s of resumes by preemptively tossing whatever doesn’t neatly fit.

It isn’t fair to single arts employers out in this regard. Any degree serves as a imprimatur for a job applicant in any field. It is a shortcut people use as a guarantee of quality which is why so many people seek to get a college degree even though they may not be suited for college.

Does this bring about the best result for the organization? That is something each has to answer.

Now, it should obviously be acknowledged that I have an MFA so I tend to pass that initial test of fitting into the equation.

I have hired people who didn’t fit neatly in to the equation and benefited from it. Some times there was a large element of faith involved, but that is true in all cases regardless of degree attained.

Again we come back to that first question, how much do the degrees matter versus experience? When I go to conferences and interact with agents, artists and other presenters, I don’t care about the degree anyone has attained. I don’t get better service from people with master’s degrees than those without.

However, I do care and can tell if someone is inexperienced. Experience does have bearing on the quality of service received.

Of course, I am only interacting with people for a short period of time. Degree earned may have a significant impact on the experiences of boards of directors, organization staff and audience base who have to live with them.

As a person who has earned a Master’s degree, I could point to how my degree had a positive impact on the organizations I have worked for. I can also point out how my lack of experience had a negative impact on the organizations I have worked for, even after earning the degree.

Thoughts?

Boards! What Are They Good For?

by:

Joe Patti

Some interesting thoughts on the purposes of boards in the blogosphere today. Laura Zabel makes some “bored assumptions” about the primary purpose of boards suggesting that passion about the mission should come first with fund raising being a distant second or third or fifth…

“I’ll be blunt here: if you’re not thinking about how your board represents your community then you’re not building a relevant organization. When we are looking for new board candidates at Springboard there are two criteria:

-do you love and understand the mission deeply?
-will you energetically represent the organization to your community and your community to the organization?

Swim Pony Performing Arts artistic director Adrienne Mackey says much the same thing in a post of her own today.

“Which means that were I to incorporate the mission my board would be responsible for is “To make Adrienne’s work the most Adrienne it can be.”

But Mackey, whose organization is not incorporated as a non-profit and who states from the outset “I am generally anti non-profits for the majority of content generators, especially for small ensembles and individual creators,” asks

“Are there any artists who, if given the choice, would actually want to keep a board of directors if they didn’t have to? I know that many of my peers have talked to me about learning to find meaning and usefulness and sometimes even joy in the people they’ve invited to be part of their non-profit board. But if they weren’t required to find a way to live with this set up, would they still do it?”

She asks this predominantly in regard to companies that exist to promote the work of a single artist rather than in the service of promoting or curating types and genres of art or to provide “a habitat for artists to plug into.”

The basis of this is the belief that (my emphasis):

“..artists should get input from the outside about how their work is best made and how it might be financially sustainable and responsible. But at the core, I don’t agree that the final responsibility for a creator’s product can be located outside of the creator.”

For me, both posts are further evidence of the sentiment that has been simmering over that last few years that the current structure needs to be replaced. Adrienne Mackey makes a good case for situations when you should not view non-profit status as the default and only choice.

We have seen the appearance of Benefit Corporate structure in an increasing number of states over the last few years as a way for companies to effect positive social impacts. Readers of my blog know that I am intrigued by the idea of arts organizations being created with expiration dates.

But I think there is just as much validity in Laura Zabel perception that there is nothing necessarily wrong with the current structure, but the that assumptions and dynamics of board relations need to be altered.

 

[hr]

Today’s post title inspired by Edwin Starr. I should note, I am not advocating for the dissolution of boards a la the “absolutely nothing” lyric. It is often difficult to think of a title for my posts and it was just too good a reference to pass up.

 

Arts Residency In Santa’s Cabin

by:

Joe Patti

Came across an interesting artist residency program that is currently soliciting applications about two weeks ago. Cabin Time describes itself as “a roaming creative residency to remote places.”

The residency program takes 12 creatives to remote parts of the U.S., allowing each to work on some sort of project. They host both a summer and winter session. This August they are going to be in Santa, ID. In previous years they have been onsite in places like Desolation Canyon, Green River, Utah and Rabbit Island, Lake Superior, Michigan.

Cabin Time has videos and photos from each residency that make it difficult not to want to go out and create something amid all the natural beauty.

If this sounds interesting and you qualify as one of those “Cabin Time invites artists, designers, writers, musicians, scientists, sign-painters, bird-watchers, cheerleaders, schemers and dreamers to make site-specific work in cooperative intentional isolation,” you might consider submitting an application. Deadline is noon on June 2.

Ride With The Valkyries

by:

Joe Patti

Last week I was thinking about alternative category names for giving levels because our current names lean heavily toward classical music while that is only a small portion of our programming.

As I got to thinking about it, I wondered if anyone had thought about changing the names of their giving levels from season to season both as a way to do some A/B testing on what types of category names might inspire people to give more and to appeal to a younger generation of donors.

People who are used to giving through Kickstarter with all the exciting images and rewards at different support levels might not be motivated by a static list of giving levels like: Donor, Supporter and Benefactor.

Category titles that changed every year and aligned with the season might be more engaging. If you were going to give $450, would you increase it to $500 to be listed in a category employing Henry V’s “We Few, We Happy Few, We Band of Brothers” as a giving level? Or the aforementioned “Riding With the Valkyries”?

Unless you were being tongue in cheek, you would probably want to stay away from a The Merchant of Venice “Pound of Flesh” as a category. Though “As You Like It” might be a good category for a giving level that garners many perks.

If you are clever about it, you might actually have people opening their donor solicitation letter to see what names you came up with as eagerly as they flip through the season brochure to see what shows are being offered.

While there is no guarantee they will give, they will at least be a little more engaged with the process.