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Getting “A Real Job” Thanks To Your Arts Job

November 7, 2012

by:

Joe Patti

Last month the LA Stage Times had a two part series on work and the arts. One was on jobs at alternative theatres, but the one that piqued my interest was about the benefits former arts managers felt their arts experiences brought to their for profit finance jobs.

As much as I am sad to hear that people can’t support themselves in arts related jobs, I am always interested in information that makes a case for the value of the arts. Whole entries can be devoted to the brain and talent drain the arts sector suffers due to inability to pay a living wage, but I won’t delve into that here since the two profiled who left for the for profit sector are still very invested in the organizations they left.

One gentleman stepped down from his position, though he stayed on the organization’s board, to pursue an MBA and eventually work for Citibank. He felt his experience helped him develop interpersonal skills that enhance his value to the bank. Returning to work in the arts using the skills he learned in banking is always at the corner of his mind.

“But Tarlow observes how his managing director experiences at Celebration still feed into his current job. “Because it’s not only numbers now,” he says. “It’s about meeting with people and doing things more like I did at the theater. Building relationships…I have to work with people in the same way.”
[…]
“[Celebration] was a lot of work, but the rewards I got from it were a great gift,” reflects Tarlow. “When you get to do that kind of theater, you really make what you want out of it. It was a gift for me.” And it’s possible that this “gift” could eventually return him to theater — but in a better-paying job. “I have thought about becoming the finance director of a large arts organization someday. The skills I’m learning at the bank are definitely preparing me for a role like this.”

The second person profiled is also still very much involved with the theatre group he started out with and uses his day job as an auditor to inform the advice he gives to his arts organization and vice versa. Talking to arts people with no background in accounting and finance about those concerns helps him become a better all around communicator on the subject.

“His position takes him to a wide range of companies, both non-profit and for-profit, in all parts of LA. “I’ve worked on audits for much larger arts organizations with ‘real’ budgets,” he says. “Then I look at the smaller Rogue budgets and see where we have opportunities for…growth,” he adds.

Seeing differences between for-profit and non-profit models on a regular basis puts Maes in a constant state of noting challenges for the Rogues, and most small theaters, particularly in terms of keeping theater staff and managers focused on fundraising.

[…]

With his added CPA training and work experience, Maes imposes a tougher financial regimen on the Rogues than he did in the beginning. He is particularly geared toward thinking in terms of risk management, a quality he recommends for all small theaters, where even the smallest mishap — such as a show’s underperforming box office or an unforeseen loss of assets — can wipe out a company’s already anemic bank account.

[…]

Maes wants every theater company to remember that financial people engaging in a small non-profit are most likely not there because of the numbers. Personal meetings and being involved with creative people is what makes the arts rewarding for everyone, not just the artists….

…It’s also helpful being a good communicator and coming from a communication-driven art form. Being able to explain accounting to artists helps me even if I have to talk to someone with an accounting background.”

The third person profiled has worked in the arts sector for a number of years but is now wondering if she should parlay that experience in marketing, development and producing into a job in the for profit sector or continue working for non-profits. She has the confidence that the skills she brings from her non-profit experience can land her a job in a pro-profit studio or marketing firm and finds herself caught in the classic “passion or pocketbook” internal debate.

Art(ist) Education, Working In The Arts

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How Audiences Are Like The Electorate

November 6, 2012

by:

Joe Patti

Now that the election is drawing to a close, I think all non-profit arts organizations, especially those in battleground states, should go out tomorrow and ask media companies for donations. There has been so much money spent on advertising during the campaigns, those companies are going to have a big tax burden this year if they don’t find some worthy cause to donate to!

Alas, Hawaii is not one of those states. Neither presidential candidate visited this year even though rumor has it one of them was born here. While we did have a 2 term Republican governor, the state is pretty solidly Democratic. The State Senate has 24 Democratic members and 1 Republican.

Voting participation is so bad, CNN did a long study about why the state is dead last.

This where “all politics are local” comes in. There are some situations characteristic only of Hawaii. There isn’t another state where a sizable part of the population views statehood as the result of an illegal overthrow of the monarchy and won’t vote because they feel it legitimizes the occupation government.

Due to the distance from the rest of the continental US, a person living in Hawaii can actually hear the winner of a national election called by 5 pm local time, providing less incentive to vote. (Though Alaska is in the same situation and has 8th highest voter turnout.)

Two things I took away from the CNN article that applies to the arts.

First, the importance of giving people an opportunity to talk about their experiences. I mention engaging people in conversation about their experiences with the arts pretty consistently in the blog, but the CNN article shows it in action.

A group canvassing neighborhoods trying to get people engaged and signed to vote didn’t get much traction with conventional survey questions, but when they asked what was personally important…

“…At least she’d have to look at us before saying no.

Do you vote?

No.

Would you like to register?

No.

Last-ditch effort: Is there an issue important to you?

The volunteers explained that Kanu is asking candidates questions based on the issues identified by the people they meet while canvassing. If the candidates addressed her concern, they told her, they’d report back.

“Oh!” the woman said. I could almost hear her tongue loosening.

She launched into her life story….

…The volunteers asked again. Wouldn’t you like to vote? Your voice could be heard.

After some discussion, the woman, Marlene Joshua, 58, said yes.

The other lesson I came away with is that simply inviting people to attend a show could possibly be surprisingly effective.

“He never cast a ballot himself until age 34. No one had ever asked him to, he said, and politics just wasn’t something he thought much about…. But then, in 2010, he saw a link to Kanu’s website shared via Twitter. He clicked it and found a page that asked him to make a pledge to vote for the first time.

For whatever reason, he said yes. That decision was the start of an incredible transformation. It led to his current hobby: spending weekends convincing other people that their votes matter.”

and in another part of the article:

Michelson, from Menlo College in California, told me that some groups — racial minorities, recent immigrants and residents of low-income neighborhoods — don’t feel like people who are supposed to vote in U.S. elections. But if you ask them to participate, she said, that can all change.

“It doesn’t really matter what you say. It doesn’t really matter who asks you,” she said. “The important thing is the personal invitation to participate.”

We know that like people in these groups, there are those who also don’t feel like they are the type of people who go to see live performances. Changing that mindset may start with something as simple as a personal invitation. That gesture at least starts to confirm that they are perceived as the type of person who attends a live performance.

Audience Relations, Government Relations, Info You Can Use, Leadership, New Initiatives, State of the Arts, Terms and Ideas

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Perform In One Place, Teach In 100 Places

November 5, 2012

by:

Joe Patti

Digital media seems to creep ever more closely to threaten the practice of physically attending live performance. Last month I got an email soliciting submissions for the WiredArts Festival, what they describe as a month long Fringe Festival which will be live streamed.

“there the audience is global, seating is unlimited and viewers can participate in live chat discussions, interact through twitter and facebook, while the performance is happening….We believe that THE SMALL THEATER AUDIENCE ISN’T IN DECLINE, IT’S ONLINE.”

The reasons they give for participating and the services they offer include:

-Instantly provides a platform to take your company and your art to a global audience.

-Opens the doors to online conversations that expand the work for everyone involved.

-Multiple cameras provide professional, high definition quality and creative, dynamic story telling.

-Increases opportunities for support and funding.

-Engages your company more deeply in social media community and the possibilities of social media networking and marketing

-Is fun, exciting and the wave of the future of the performing arts.

-Drives online audiences to the live theater.

YOUR PROGRAMMING SLOT FEE INCLUDES:
1 high-definition, multi-camera edit of your live performance
Social Media Marketing training sessions
3,000 square foot performance space at The Secret Theater
Opportunity to invite your own audience to the Secret Theater
4 camera setup and professional camera operators
Live-Streamed Director
1 Production Manager
1 Sound (for streaming) Technician
1 Board Operator

I am a little skeptical of their claim that this will drive online audiences to live theater given that the trend seems toward individuals increasingly isolating themselves. If positioned and presented correctly I imagine it could entice people to live performances, but it would have to be an active effort rather than passively depending on people liking something so much they decide to check it out live. People in general are too used to experiencing their entertainment via some form of mediation to feel there are some experiences that must be savored live.

Appropriately enough, three days after receiving this email the topic of You’ve Cott Mail was “The Future of Arts in a Digital Age.”

Included in Cott’s email was a piece by Andrew Sullivan basically saying only suckers eschew digital readers like the iPad and Kindle for print, a sentiment somewhat belied by the widespread power outages on the East Coast. A little difficult to read your Kindle by candle light, a feat I managed with an old fashioned print book in Mongolian yurt this summer.

Thomas Jefferson read by candlelight, by gum. It should be good enough for everyone!

Such smug assertions have a pretty short shelf life, though. The benefits of digital format will surely continue to increase.

The question is, what place does a performing arts venue have as this future unfolds? Will the role be like that of The Secret Theater where theatres facilitate the live streaming performance of arts groups by providing space, personnel and technology? And what differentiates this performance from a television show or a YouTube video for the viewer?

The organizers of the WiredArts Festival seem to acknowledge a live audience to provide genuine feedback is important and I suspect it always will be, but this may mean the end of large performing arts venues in favor of smaller 100-200 seat venues. (As point of context, The Daily Show studio seats about 300 people and Colbert Report about 100 people.)

Will those who are skilled at curating and producing these sort of events become recognized as the hottest performance venues potentially shifting the artistic center of gravity away from places like NYC and LA? There is a lot of interesting stuff happening in Cincinnati thanks to the efforts of groups like ArtsWave. As physical location becomes less important to gaining recognition, more creatives may start to gather in cities that provide high quality technology resources/support and low cost of living.

Given that artists will be reaching a global audience, live interaction in the form of workshops/residencies/master classes may become more valued if artists promote that as a service they can offer. Going on an extended tour with a dance company may be less common but the opportunity to work in a small group with a compelling artist may increase in desirability. (So I guess a base of operations in a city with a low cost of living but good airport will be essential.)

This may seem a remote possibility but the Andrew Sullivan article I referenced earlier pointed out people are buying the work of talented individuals rather than trusted institutions these days.

It may just be a matter of making people more aware that personal contact and instruction is possible causing the whole model to become inverted. Instead of touring a performance to 100 places and teaching in a few, you live stream one or two big performances a year from your base and the notoriety it generates supports sending skilled members of the company all over the world to spend a few weeks teaching people how to perform like they saw in the broadcast. If you have the talent and vision to parlay the longer term exposure and interactions with all these different people and cultures into a new creative expression that wows the world, you can keep the cycle going.

This version of the future would dovetail very well with the Pro-Am movement because it would help people nourish their avocation and still acknowledge the value of pursuing the arts as a vocation (though certainly a Pro-Am could just as easily travel about providing educational experiences at cut rate prices).

Arts in an Age of Technology, Audience Relations, State of the Arts

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Care And Feeding of Development Directors

October 31, 2012

by:

Joe Patti

Hat tip to Rosetta Thurman for linking to a valuable article about the care and feeding of Development Directors on the Chronicle of Philanthropy. Carol Weisman wrote “5 Ways to Lose Your Development Director in 2 Years or Less,” decrying the poor treatment and lack of support development staff receives.

An excerpt of her list:

1. Pay a ridiculous salary. A friend recently pointed out an ad on Craigslist for a development director. The position requires an MBA and five years’ experience or a Certified Fund Raising Certificate. There is a list of 15 responsibilities, including manage all aspects of individual giving, manage Web site, lead $3-million capital campaign, design and write the newsletter, recruit and manage volunteers, represent the agency at community events, and the list goes on. Salary: $40,000. I mean, really.

2. Reward great performance with unrealistic expectations. A friend of mine works at a university. The department she works in raised $350,000 in 2011. She raised $1.2-million in fiscal 2012. The goal she was given for fiscal 2013, $2.5-million. The additional staff support, financial support for meetings and training: zero. After a highly successful year, she is reading the want ads.

3. Provide absolutely no board support.

4. Don’t provide funds or the time for developing additional streams of revenue.

5. Avoid recognizing the work of your development professional.

Weisman expounds upon points 3-5 in the article. I didn’t want to get into reproducing the whole thing here.

As you might imagine, this is a sore subject with fund raisers. There were many comments on the article. One of the first, by a person using the sobriquet “helpfor501c3s,” related the following:

“When I have interviewed for Director of Development positions, I do my homework and read the organizations’ 990s prior to the meetings, anticipating the question about salary expectations. I have found that seeing the previous years’ compensation paid to CEOs and VPs is a helpful guide to preparing for a realistic response. Quite often when a CEO asks me for salary requirements, I am met with a response “That’s almost what I make!”

CEOs and Executive Directors have to get over the notion that they are the only employees that should make a high salary. When the Director of Development is the one responsible to raise the support to pay the CEO, a bit more consideration should be given to amply compensating an experienced and skilled Director of Development.”

I quote “helpfor501c3s” first to advocate for using 990 filings as a pre-interview preparation tool or for pre-application research if you are uncertain if an organization can meet your salary needs. I also cite “helpfor501c3s” for making the point that the development office is frequently responsible for raising the funds that pay the CEO and should therefore be highly valued by those in the C suites.

More than just a pleas to be nicer to Development Directors, both the article and the commenters talk about the importance of including fundraising in board training and education. There was a sense of letting the development office help the board get better at helping them rather than a declaration of “give, get, or go.”

As I read the article there seemed to be this feeling that development offices were expected to go out and raise money without depending on anyone else in the organization. Almost as if the marketing and promotions people were expected to gather information about a play or musical piece and all the artists without asking the artistic staff.

If you don’t think that is an apt comparison of the conditions in development offices, read some of the examples given in the article and the comments. It will probably be difficult to avoid seeing at least some similarities to your organization.

Every department in an arts organization suffers some injustices that need to be corrected, that is no surprise. You may not think about what they might be in relation to your development people that often.

Boards, Fundraising, State of the Arts, Working In The Arts

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