Applying For Save Our Stages Money, Keep Close Watch On The Site

by:

Joe Patti

I am hoping that all of you who work at a performing arts venue in the United States are like me and have been getting seven or eight emails a week making you aware of a webinar on the Shuttered Venue Operators Grant program aka Save Our Stages funding.

While it is difficult to know exactly all the information you will need to assemble, you definitely want to make sure your organization is registered with SAM.gov. Any grant from the federal government, regardless of which department’s website/system you apply through will require this registration and it can take up to two weeks to get verified. Since the application windows are only two weeks long, based on the amount of your losses, you don’t want to be waiting for your registration to clear.

You will need to know your DUNS number as part of the registration on SAM.gov so applying for/researching it could be another step in the process.

While the date when the application window opens hasn’t been set (as of this writing), information on the Small Business Administration site is constantly being updated so you almost have to make checking the program page a daily ritual.

For instance, the FAQ update for the SVOG program which came out February 5 had some significant updates from the FAQ that went out nine days earlier on January 27.

In January, the information for Museums was:

Museum Operator
1. Is a museum partially funded with state dollars eligible to apply?
Yes. While there are specific eligibility rules for entities owned by state or local governments, the receipt of funding from a state government does not affect its eligibility.
2. Is a museum that received CARES Act funding eligible to apply?
Yes. Per the Economic Aid Act, receipt of CARES Act funding does not disqualify an entity for SVOGs.

In the February 5 version it reads:

Museum or Movie Theatre Operator
1. Is a museum or movie theatre with a multipurpose room with movable seating eligible to apply?
No. The Economic Aid Act specifically requires fixed seating for qualifying amphitheaters of museums and motion picture theatre operators and makes no allowance for temporary, removable, modular, convertible, or other non-fixed seating arrangements. As such, museums and motion picture theatre operators cannot satisfy this requirement with other forms of seating. NOTE: There is no fixed seating requirement for other types of eligible entities.
2. Is a museum or movie theatre with outdoor fixed seating eligible to apply?
Yes. The Economic Aid Act does not require qualifying venues to be indoors. If the venue meets the applicable eligibility requirements, it should be eligible to apply for an SVOG.
3. Is a museum partially funded with state dollars eligible to apply?
Yes. While there are specific eligibility rules for entities owned by state or local governments, the receipt of funding from a state government does not affect its eligibility.
4. Is a museum that received CARES Act funding eligible to apply?
Yes. Per the Economic Aid Act, receipt of CARES Act funding does not disqualify an entity for SVOGs.
5. Is a drive-in movie theatre without fixed seating eligible to apply?
No. Per the Economic Aid Act, a motion picture theatre operator must have at least one auditorium with a motion picture screen and fixed audience seating, so a drive-in movie theatre is not eligible to apply for an SVOG.”

Number 5 was an individual answer in the January version and got wrapped in with museums, but the other additions are new content. If you are thinking about applying for this program, keep an eye on the website so you can be as prepared as possible in advance of the application period.

What Do You Perceive As Biggest Impediment to Equity Efforts?

by:

Joe Patti

Advisory Board for the Arts had sent out a survey on Diversity, Equity, Inclusion and Access (DEI&A) efforts that non-profit organizations were undertaking. They released the results in infographic form this week.

Keeping in mind that the respondents were self-selected so there wasn’t a lot of rigor behind the process, the results are still an interesting preliminary view of what organizations perceive is going on with their efforts.

I was particularly interested in the pressures and challenges section where respondents indicated there was a lot of pressure to do more in relation to DEI&A across a number of internal and external constituencies. The biggest perceived source of pressure to do less is among board members and individual donors. Still there wasn’t perceived pressure either way from unions, donors, corporate sponsors, and audience members.

This all makes me yearn for a more complete study of the question. My suspicion is that groups who were already very interested in implementing DEI&A chose to answer the survey and so they were either inclined to view their efforts favorably or their constituencies were aligned toward DEI&A efforts to begin with.

However, it would be great if these results were close to reality because that would mean the impediment to change couldn’t necessarily be blamed on external groups. They are shown as largely indifferent in this area. Even board members who were seen as most in opposition to DEI&A efforts were more likely to be for or indifferent to them rather than against.

In terms of challenges and hurdles, the survey found that developing an authentic, rather than performative, stance and creating meaningful metrics to hold the organizational accountable were among the top concerns people had.

Stuff to ponder so take a look.

Why Are You Asking Me On Board?

by:

Joe Patti

A piece I wrote on diversity efforts in board recruitment appeared on ArtsHacker last week. I primarily drew the content from a piece Jim Taylor, BoardSource’s vice president of leadership initiatives and education, wrote about his experiences being recruited for board membership.

He said his primary litmus test when being recruited to join a board is to ask what value he would bring to the board. He says this is a question anyone being recruited to join a board should ask. However, if the recruiter can’t provide a satisfactory answer that emphasizes his expertise or experience over his racial background, Taylor says he considers the real conversation is finished.

I quote the following in the ArtsHacker post:

Taylor observes that when people of color achieve something, it is often assumed a bar had been lowered to allow them to accomplish it. “So when a White board member recruits me and effectively diminishes the totality of my assets and qualifications to one aspect of my identity – my race–… I am still being seen as “less than”.

I go on to note that white board members have often been recruited based on their ability to garner financial support or exert influence on behalf of the organization rather than expertise they may bring to the table and no one questions their qualifications, mostly because their identity is viewed as the default norm.

My organization recruited new board members a few months back and I made an effort to specify what elements of people’s experience and background we felt was beneficial to the organization. I don’t believe I had read Taylor’s piece at that time.

However, in on a recent grant application where we were asked to discuss how we were diversifying our board, I did burn through a good portion of the precious character limit enumerating the value each of our new board members brought with them, mindful of Taylor’s article and wanting to make a small contribution toward mainstreaming this thinking.

As governance and equity become increasingly important considerations for non-profit boards, what someone brings is likewise a significant question all parties should be asking.

 

Many Lens of Board Recruitment

The Secret Lives Of Museum Tour Guides

by:

Joe Patti

Long times readers know that when I was living in Ohio I had a close relationship with a local group called the Creative Cult. We did a number of projects together and I participated in the events they sponsored. The local art museum wisely decided to bring one of the cult’s inner circle, Nick, on staff and he has been making some great contributions to the organization.

This week the museum has made a series of Facebook posts under the title “Things Written At The Front Desk,” with some pictures from Nick’s journal/sketchbook and other projects he has worked on while at the desk. Today was the second post in the series and really caught my attention because it featured Nick’s illustrations of a guide to a gallery exhibit.   At first I was excited because I thought perhaps the museum had reopened for socially distanced exhibitions, but the guide was made for a pre-Covid exhibit.

Regardless of when it was made, the concept of walking into a museum and picking up a guide to an exhibition which was hand illustrated by one of the people greeting you struck me as something that would make the whole experience feel more welcoming and accessible.  The pamphlet Nick illustrated reflects his quirky aesthetic, presenting the visitor with Marty, a cartoon figure who will accompany on your journey complete with a map of Marty’s suggested route through the exhibition.

Then things take a strange turn and some of the illustrations reference to Marty’s diary and a beast being hunted down by a classic mob armed with pitchforks and torches. Clearly the whole guide isn’t depicted so we are missing parts of the story, but that makes you want to learn more, right?

Not only that, wouldn’t you be interested in seeing a museum exhibition framed by an information pamphlet that implied your tour guide may have a monstrous alter-ego….or perhaps it was all just a strange dream?

https://www.facebook.com/southern.ohio.museum/posts/5655438514481520