Info You Can Use: Short Term Space Naming

by:

Joe Patti

I apologize for not making an entry as usual last Wednesday. I was deeply involved with a fund raiser that evening. So far we have seen some positive results which I would attribute to a combination of our approach and the environment we created that evening. I thought I would relate some of what we did and maybe some of you might find elements you can use.

As I believe I have mentioned before, we are planning a renovation of our theatre facility. Our development officer was thinking about naming rights for some of the spaces and had an interesting idea.

It is often very difficult for someone to get enough money together to name a space in perpetuity. However, they might be interested in naming a space for five years at a fraction of the cost of a life time naming. Once they had committed to that, they might be more open to the idea of a permanent naming via an estate gift or other method. The arrangement is that the 5 year will go into our donation account for us to use in the short term and the permanent naming will go into an endowment.

After discussing this idea with our leadership, she had lunch with a long time supporter of the theatre to run the idea by him. He was very receptive of the idea.

Our next step was to invite people to a lunch brain storming session about the renovation and how we might support it. Our concept was to float this naming idea but also see if anyone had suggestions to refine it or even replace it with a better idea. Although only a fraction of those invited attended the meeting, those that responded with regrets expressed some excitement for the possible renovation and gratitude at being invited. Those who did attend expressed a fair amount of enthusiasm about our plan.

Next we sent out a letter to the same mailing list telling everyone we had held the meeting, came up with some new ideas and would be holding a campaign kick off event so watch for the invite. We sent off the invite a few weeks later.

We designed the kick off party to play to our strengths. We held the event on the stage which most of our audience and supporter had never been on. We had artist renderings of the renovation and a sample theatre seat for people to sit in. (The people at the brainstorming session actually got to provide feedback on a number of seat samples before the architect had to send them back.)

The musicians were located on the orchestra pit which had been raised to the stage level. To watch the musicians, the audience had to look out toward the empty seating area. In effect, the roles were reversed with the artists in the physical position the audience usually occupied and the audience was on stage which the artists usually occupied.

About a half hour in, at the end of a particular song, a flash mob which had slowly been infiltrating the party started to perform, stomping, singing, banging objects, etc. They moved downstage to perform a song and physically advanced on the audience so that they would move clear from an area of the stage where we intended to perform. (We also instructed the caterers not to circulate with food below that line so that people wouldn’t linger there.)

Some child performers were introduced and got the whole audience (supplemented by some of our flash mob) involved in a call and response. Then they launched into a wild performance singing a rap while fabric was dropped from the ceiling and three aerialists came running out, climbed up and performed. Near the end of the piece, confetti was dropped so it swirled around the aerialists and down on the audience. Staring up at the aerialists, the audience got to witness the use of some theatrical mechanics and techniques they had never seen before.

Then while the energy was up, we talked about the theatre, the renovation and the short term naming plan. We already had a person lined up to sponsor our Green Room for 5 years so we had him speak and presented him with the plaque that will be mounted outside the Green Room.

After that, we distributed information about the naming opportunities and I gave tours of the facility to those who hadn’t really ever seen it. Unfortunately, like a groom at his wedding, I didn’t get to eat any of the food I paid to have served.

However, our efforts have already seen some additional successes. One woman called back to our development officer that evening after she left the party to express interest in sponsoring our lighting booth. Another contacted the development officer this week about the women’s dressing room. I have to credit these events to the donor who sponsored our Green Room as much as anything we did. I don’t doubt that his generosity provided a catalyst for the others.

These short term naming opportunities aren’t really going to be enough to help us with the renovation efforts. Though they can cover buying lobby and green room furniture and various appliances we might need. Not to mention it adds a little to our operating funds. While there is a lot of good energy and interest surrounding the program, my guess is that we will probably need to see a renovation start within the next five years to sustain people’s enthusiasm.

Mini-Granting Is Awesome

by:

Joe Patti

It may just be serendipity (or you know, Google controlling my every life experience) but I keep hearing about this group called the Awesome Foundation. First it was a story about the Seattle chapter and then a few days later, while listening to the radio I discovered a new chapter was opening right here in my city.

The Awesome Foundation concept is sort of a mix between micro-granting and investment clubs. Ten people get together and commit to donating $100 every month. Then they distribute $1000 monthly grants. There isn’t a lengthy application process and you don’t have to be an established charity. If you have an idea and $1000 will help you get to the next step, they want to hear about it.

They draw a distinction between themselves and most granting organizations.

“The Awesome Foundation does high-frequency, low-stakes grant-making. Most grant-making institutions do high-stakes, low-frequency grantmaking. They often think big about initiatives and form multiyear commitments with their grantees. They give quarterly, twice a year, or only once a year. There’s a lot of pressure on everyone involved, from the applicant to the grant winner to the institution’s program officer to the board of directors.

The foundation’s success has to do with the simple formula. It’s not like big charity where the experience of being a donor is that you give money and aren’t sure where it goes. Our trustees know where the money goes. They’re really invested in the success of these small projects.”

This resonated a little with a post Diane Ragsdale recently made about funding decisions on her Jumper blog.

It’s time to start asking ourselves the disruptive questions. Does it make sense to subsidize large resident theatres and not commercial theatres? Does it make sense to subsidize professional theatres and not amateur theatres performing in churches or high school gymnasiums? Does it make sense to subsidize those that are most able to garner patronage from wealthy, culturally elite audiences? […]

We’re rather protectionist in the U.S. nonprofit arts sector because we know, or at least suspect in our gut, that if we start measuring intrinsic impact—testing our assumptions about the impact of the art we make— we might find out that there is greater intrinsic impact from watching an episode of The Wire than going to any kind of live theatre. Or we may find that small-scale productions in churches or coffee shops are just as impactful (or more so) than large-scale professional productions in traditional theatre spaces. Are we prepared, if we find this sort of evidence, to change the way we behave in light of it?

It made me think that programs like Awesome Foundation might contribute to the prototype for a new funding model where funding is directed to more of these smaller scale efforts. This is the sort of thing existing funders probably know they ought to start to do but haven’t found the will and the way to do it. Once small scale funding models like Kickstarter, Kiva and Awesome Foundation reach a critical mass, then it becomes easier for everyone to say that clearly their practices should be shifted in this general direction.

What If I Had Only….

by:

Joe Patti

One of the perennial challenges arts organizations face is attracting a younger audience and the tendency of audiences to commit so late that you wonder if there will be one for your event at all. According to a recent blog post by Priya Parker (which includes her talk at TEDxCambridge on the same subject), this is a result of a paralysis millennials feel when faced with so many choices. There is a fear of missing out on a better option.

Parker has conducted many interviews during her research in which respondents discuss the paralysis they feel at the prospect of making the wrong choice.

“Am I setting up my adult life to be the way that it could optimally be?” one of my subjects asked aloud, speaking of her general approach to life decisions. This subject explained how FOMO could even invade the pursuit of a spouse: “On the personal side, there’s this fear of ‘Am I committing to the right person?’”

More and more, particularly among those who have yet to make those big life decisions (whom to marry, what kind of job to commit to, where to live), FOMO and FOBO – the “fear of better options” – are causing these young leaders to stand still rather than act. “The way I think about it metaphorically is choosing one door to walk through means all the other doors close, and there’s no ability to return back to that path,” one subject told me. “And so rather than actually go through any doorway, it’s better to stand in the atrium and gaze.”

Those with the most options in this generation have a tendency to choose the option that keeps the most options open. Wrap your head around that for a second.

[…]

Many of us watch the choices of our peers and predecessors with a blend of admiration and anxiety. What seems to afflict this cohort – more than the political strivings or existential angst that defined earlier generations of elites – is a persistent anxiety about their might-have-been lives, about the ones that got away.”

I don’t think it is much consolation for art organizations to know this is something of a personal problem because ultimately, your audience’s problem is your problem. But once you have created an appealing work, communicated the information through appropriate channels and made it easy for those last minute decision makers to gain admission to your event, there may not be a heck of a lot left to do but watch and wait.

Obviously, this also has some implications about the development of creativity, a quality that seems to be receiving greater amounts of attention. It was apparently the a cover story of this weekend’s Wall Street Journal Weekend Review. Cultivating creative ability requires a lot of trial and error, especially the error part. You get better by learning from your mistakes. If Millennial are risk-averse, they may be too reluctant to commit themselves fully enough to make great creative strides.

In fact, in her TEDxCambridge talk, Parker mentions a number of related practices that inhibit creativity. One in particular was valuing success over mastery where when given the choice of spending two hours networking over coffee or two hours working on honing their artistic abilities, “they will always choose the coffee.”

Granted, every generation has been accused of being less accomplished than the generation before. Though that is usually by the preceding generation, Parker is speaking about her own generation. In the context of so many sources saying creativity is important, it will be worth paying attention to whether this approach to life will ultimately be a problem for the Millennial generation.

Unrelenting Pursuit of Excellence

by:

Joe Patti

I am a little caught up with life issues but I noticed a movie I saw at the Hawaii International Film Festival last October is opening in wide release this weekend and I wanted to mention it.

Jiro Dreams of Sushi is a documentary about Jiro Ono, regarded as the world’s best sushi chef. His was the first sushi restaurant to be awarded three Michelin stars. I don’t particularly like sushi but it was well worth seeing this man’s artistry depicted fifteen feet long on a movie screen.

Jiro has never been satisfied with his accomplishments and always pushes to do better even at 85 years old. He has personal relationships with his suppliers, many of whom adhere to similarly high standards. His rice supplier won’t sell the type of rice Jiro uses to anyone else because he feels they don’t know how to cook it. It actually requires cooking under very high pressure to achieve the results Jiro does.

As I watched the movie, I thought about those in the arts and culture industry and wondered who among us is willing to labor in obscurity perfecting our craft. To achieve what Jiro has, you have to be willing to pursue perfection for its own sake alone and not for recognition in any form.

How long before you compromise your vision or give up in the absence of supportive feedback? How many people have sustained their drive whom we have no knowledge?

There is certainly an argument to be made against the type of single mindedness Jiro exhibits. There have been some less than positive outcomes. Yet it is the sole factor upon which his success is based.

[youtube http://www.youtube.com/watch?v=hbV6knbeUFE]