The Future of Leadership

(cross-posted from ARTSBlog – my thanks to to Jean Cook of the Future of Music Coalition and Fractured Atlas‘s Adam Huttler for their contributions to this piece, and my apologies if you’re reading this multiple times.)

We hear a lot of talk about the coming leadership transition in the arts. Baby Boomers are nearing retirement age, and Gen X’ers and Millennials are itching to take on increased responsibility. It’s important both for the good of the arts as a whole and for the individuals involved to make sure that, when the time comes, the people getting behind the wheel will have had some experience riding shotgun first. Hence our conversations have frequently centered on professional development, training, networking, and mentorship as strategies to better prepare our young(er) drivers.

It’s important to recognize, though, that the conversation isn’t-or shouldn’t be, at any rate-solely about passing the keys from one generation to the next. That’s something that has been happening since time immemorial, and is part of the normal cycle of nature and humanity. What’s so newsworthy about that, really? Naturally, there are lessons about leadership to be handed down from the elders to the newbies – and the conversations on ArtsBlog on this issue have boasted some elders’ generous attempts to do just that. Every so-called “emerging leader” who knows what he or she is talking about acknowledges that there is much to learn from those who came before, and that we would be foolish to pretend that we already have the answers. After all, the calls for mentorship are coming more from the younger generations than it is from the elders.

But even as we honor and benefit from the contributions of the Boomer and Silent generations, we also must face the fact that there are some forms of wisdom that are not transferable from previous generations. Our world has changed dramatically just in the time that Generation Y has been alive, and the rate of change only keeps increasing. Certain ways of thinking, communicating, and organizing ourselves are proving to be a better fit with the past than they are with the future. So as we develop new strategies to support the next generation of arts leaders as they begin this leg of the journey, we need to keep in mind that simply talking about where we’ve been will provide an incomplete map of the road ahead.

So, what is this new normal that we face? What are the imperatives that anyone leading an arts organization in the 21st century, regardless of generation, must grapple with in order to lead effectively? Recognizing once again that we do not have all the answers, here is an attempt at identifying the most important factors.

  • Technological literacy. Nearly all of the sweeping changes in how we do business and live our lives that have taken place during the last 20 years can be traced to dramatic advances in communication and data storage technology. Twenty years ago, there was no World Wide Web, cell phones as we know them today did not exist, word processing software was still in its infancy, and a typical hard drive held 1/10,000th of the space boasted by a comparably-priced device today. Think about that for a second. In a single generation’s time, our collective capacity to store, process, and share information has exploded beyond all recognition. This one development has completely transformed our work and our relationships, and its impact on the arts and arts organizations is no exception. Future arts organization leaders will need to, at a minimum, be literate in current technologies, and ideally should be fluent in them. As for the leaders of our entire field, the service organizations and grantmakers among us should have the capacity to shape technological trends, not just keep up with them.
  • Transparency. Yes, all of those status updates on Facebook about what people had for dinner are annoying. And why would you broadcast details about your love life to everyone you know? It may seem nonsensical to those of us who grew up in a different environment. But in the digital age, secrets are increasingly a fiction. The proliferation of data, the ease of sharing it, and the slow demise of less easily tracked transactions (e.g., cash) all mean that unless you remove yourself from the grid (and thus miss out on all of its benefits), information about your activities is out there for people to find whether you like it or not. If this is the case for individuals, it’s doubly so for arts organizations, many of which are nonprofits and subject to various regulations governing the sharing of information with the public. Recognizing how thoroughly technology has changed the rules around information-sharing, the more forward-thinking leaders in the sector have begun taking a “if you can’t beat ‘em, join ‘em” approach to transparency, recognizing that trust ultimately remains the true currency of effective operations. Proactively sharing data that previously would have been considered confidential and merging internal and external “faces” can enable the organization to speak authentically with one voice. But transparency need not be merely a defensive measure. What arts leaders are realizing is that transparency, widely adopted, can have benefits of its own, especially when taken to the next step:
  • Collaboration. The advent of numerous “crowdsourcing” platforms has shown us that sometimes, things get done better, faster, and more cheaply when we all chip in. While competition certainly has its virtues, the arts sector can only thrive in the 21st century if its individual actors remember that, in the end, we are all on the same team. The theater that opens up shop down the street from yours is not a threat – it’s an ally in your quest to make your street a place to see theater. The organization that starts a program similar to yours the next town over is not drawing foundation funds away – it’s a source of new capacity that can benefit your program even as you teach the lessons you learned from your own experience. As much as the private sector extols the virtues of competition, in every well-functioning workplace collaboration and division of labor is the norm. When we are working toward a common goal, that is as it should be. Thus, the arts leaders of the 21st century will need to be ready to embrace coordination of efforts, willing to occasionally divest their ego from a program for the good of the field, and enthusiastic about learning from and teaching their peers in a variety of contexts.
  • Openness. One could write an equation based on the previous two concepts to the effect of “Transparency + Collaboration = Openness.” Openness is the state of mind, the work philosophy that results from adopting both a collaboration orientation and a commitment to transparency. When fully absorbed by the arts field, openness will have far-reaching implications for how individual organizations go about fulfilling their missions. At its most fundamental level, openness translates to letting people into your line of sight who would normally stay underneath the surface. It means accepting and seeking out conversations with total strangers who nevertheless share your interests (now easier than ever before thanks to blogs, Twitter, and other social media). It means considering how the work you’re doing intersects or parallels the work people like you are doing in seemingly unrelated fields, like education, communications, international aid, or urban agriculture. It means changing hiring practices and internal organization management to reflect the fact that people are multidimensional and that good ideas sometimes come from the least expected places. And most of all, it means opening up the important conversations and decisions about our future to everyone, not just the select few who have always had those conversations and have always made those decisions. Generational transfer is all well and good, but if the only result is fewer gray hairs and balding heads among the power elites of our field, we will have completely missed the point of our moment in history.
  • Adaptability. Finally, the reason we find ourselves where we are today is because things changed so fast and so completely in a single generation. If those two decades are any guide, the pace of change is not about to let up anytime soon. Who had heard of blogs ten years ago? Who had heard of Facebook seven years ago? Who had heard of YouTube five years ago? The arts leaders of the 21st century, above all, will need to be prepared for a bumpy ride and many twists and turns as they make their way forward. Strategic planning, formative evaluation techniques, and data analysis will play increasingly important roles as arts organization leaders learn not just whether their decisions are effective, but how to make effective decisions in such an environment. Those who are most adept at adaptation will, just like Darwin predicted, be best positioned to survive and thrive.
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Around the horn: John Paul Stevens edition

Everybody’s talking about unpaid internships. Scott led things off railing against the injustice, Isaac follows up with posts here and here basically agreeing, 99 says interns should just suck it up, Adam Thurman warns against the dangers of getting addicted to free labor, Guy offers a perspective from internships in the software industry (where my career started as well), and Milena Thomas cheerleads for the status quo.

Here are my thoughts, in brief. I think there are two separate issues going on here. First, we should make a distinction between internships and “working for free.” There is a name for working for free; it’s called volunteering. Volunteering is done with the understanding that the volunteer is doing it for the good of the cause; the volunteer’s reward is the good he or she is doing for the community or the world through his or her work. An internship, on the other hand, is explicitly supposed to be an educational experience. In this context, whether or not the internship is paid is of secondary importance; what really matters is the nature of the internship, and whether it really is educational or is just an excuse for the hiring organization to unload some undesirable tasks on an unwitting subject. Hence the government’s six rules to define what an internship is. As such, the real issue is truth in advertising; if the internship is unpaid, it only codifies the fact that the experience had better be valuable to the intern in other ways in order for it to qualify for the title of internship.

The second issue is what Scott talks about, the pernicious effects of a system in which working for free is required to get ahead. This runs much deeper than unpaid internships and touches on other issues like artistic entrepreneurship, competition entry fees, the concentration of grant funds among high-profile institutions, and much more. Internships do play a major role in the dysfunction of this system, and it is certainly a good thing to call out that role. At the same time, we also need to recognize that there are some fundamental supply and demand factors going on that will make fixing the relevant class inequities an uphill battle. It doesn’t mean the battle isn’t worth fighting (not at all!), just that we shouldn’t expect immediate success or easy answers.

There does seem to be some disagreement about whether organizations that hire interns can afford to pay them or not. My belief is that most of them can, but we probably won’t really know until it’s tested somehow, perhaps through the enforcement of existing legislation. However, if it turns out that both (a) it is a financial hardship for organizations to pay interns and (b) we believe internships are important for educational and career development, then the logical policy solution is to subsidize nonprofits so that they can pay their interns a living wage.

Anyway, in case you’re tired of talking about that, here’s what else has been going on lately:

  • This Tuesday is National Arts Advocacy Day. To celebrate, some folks from the Minneapolis College of Art and Design are trying to get the hashtag “#arts” as a trending topic on Twitter. So if you tweet, show your support on Tuesday by including #arts in some of your messages.
  • Janet Brown on general operating support in the arts.
  • Michael Kaiser on emerging leaders.
  • Seth Godin on why labor-intensive products like handmade goods can be the new conspicuous consumption. (I think he’s on to something – at any rate, some level of that probably needs to happen if the arts are to continue to thrive.)
  • Math is fun and can help explain why things are the way they are: exhibit A (the Drunkard’s Walk); exhibit B (the Levy flight).
  • Andrew Taylor is a BLOGGER ON FIRE. Here he is on the rise of the API (key observation: it’s “more evidence that hoarding, controlling, or constraining essential access to your organization is a strategic blunder”), the specter of more creators than consumers, and details about the new federal student loan forgiveness programs for the nonprofit sector (and by extension the arts).
  • Barry Hessenius has a great wrap-up of the just-concluded grantmaker-themed Emerging Leader Salon on ARTSBlog. Barry’s been a huge champion on this issue and I’m glad that his report and the topics it addressed are really starting to get some widespread attention.
  • On the other hand, Sean Stannard-Stockton explains why following is sometimes even more important than leading.
  • Richard Florida has yet another new paper, this one looking at how the regional distribution of social, cognitive and physical skills relates to regional prosperity. He delivered the keynote at the Creative Cities Lexington conference last week, and his new book hits the stores in a couple of weeks. Florida remains a polarizing figure; you can add this gajillion-word essay to the list of critiques his work has attracted.
  • Rocco scores yet another long profile in the New York Times. Apparently Our Town will be unveiled on Tuesday.
  • The Baltimore Sun has an interesting article about cultural districts in Charm City. Apparently of two designated such districts, only one has really flourished as promised. It raises the question, once again, of to what extent these things can really be planned, and what factors make a cultural agglomeration successful.
  • PhilanTopic points us to an interview with Carnegie Corporation President Vartan Gregorian in which he talks about Andrew Carnegie’s legacy. Carnegie’s an interesting guy – a lot both to love and hate there – and his orientation toward philanthropy is worth examination even today.
  • Brain Pickings has a retrospective on the WPA of the 1930s and mentions the federal arts programs contained within.
  • My hometown of Boston is so strapped for cash that it’s now asking the nonprofits for help. Awesome.
  • NewMusicBox/Counterstream Radio has an audio Spotlight Session with Createquity friend Ted Hearne, which includes a clip from the wonderful Katrina Ballads.
  • A new startup makes crowdsourced fundraising into a game.
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New Blogs!

The new arts policy or arts-policy-relevant blogs keep coming at a brisk clip. Meanwhile, in recent months, some of the sites I’ve previously highlighted have subsequently either moved or ceased to be:

  • Barry’s Arts Blog and Update, the home of Barry Hessenius’s invaluable weekly rants, is now known simply as Barry’s Blog and has a new URL and feed.
  • New Music Strategies, originally an e-book of sorts, has died and come back to life several times and most recently transformed into…well, I’m not sure what exactly, but they are telling us to stay tuned.
  • Mark Robinson’s engaging Arts Counselling blog appears to be no more now that its author has left his post at Arts Council England (sounds like he was laid off as a result of a restructuring, poor guy). If you’d like to keep following his exploits, he will be writing a blog for his consulting shop, Thinking Practice.
  • When Grantmakers in the Arts redesigned its website this past winter, that meant the integration of Janet Brown’s and Tommer Peterson’s blogs and new URLs and feeds for both. Janet’s blog is still called Better Together and you can subscribe to it here. Tommer’s blog is now simply called GIA News and the link to subscribe is here.
  • The ever-nomadic Scott Walters has abandoned the >100k Project site in favor of the CRADLE Arts blog (better known as Rocking the Cradle), whose feed is here. The sidebar has been updated accordingly.
  • Thanks to the magic of Google Reader, I found the link for Deceptively Simple’s feed (this is how I found Rocking the Cradle’s as well). If you’ve come across a blog you want to subscribe to but don’t see a link, just click “Add Subscription” in Google Reader and search on the name. Likely as not you’ll find it.
  • As it’s now been over a year since Paul Brest last posted at the Huffington Post, I think it’s safe to assume that that blog is not coming back anytime soon. Similarly, PhilanthroMedia ceased to exist last summer. I’ve removed both from the link list.

OK, and now for the new crop!

Actually Giving and Pam Klainer’s Day
Previously discussed here on Createquity, these two blogs are full of reflections on personal giving and generosity. Brigid Slipka, a fellow Yale SOM alum, writes about her journey to find the right reasons for altruism, typified most recently in her 40 Days of Giving generosity experiment. Pam Klainer, my aunt, writes what is really a personal journal that nevertheless contains many nuggets of wisdom on philanthropy, class, and cultural anthropology driven by her experiences in Panama. Both blogs are well-written and well worth the time.

The Communications Network blog
The aforementioned PhilanthroMedia’s Susan Herr has joined forces with the formidable Bruce Trachtenburg at this philanthropy consulting practice’s blog. The most recent piece, which discusses the political ramifications of three foundations’ very active role in reshaping an economically devastated city of Detroit, is a good example of why the blog is worth reading.

The Global Center for Cultural Entrepreneurship Blog
The Global Center for Cultural Entrepreneurship looks to be a relatively new organization that provides fellowships and training to entrepreneurs around the world for their creative entreprises. The blog feels like it is still finding its voice (the bloggers appear to be unrelated to each other except by common interest), but given the subject matter it may well be one to watch. What I’d love to see is some blog posts from the entrepreneurs themselves, perhaps translated if necessary.

TACT
Scott Walters is really blogging around these days. The verbally promiscuous and acronym-loving professor now writes at Theatre Ideas, CRADLE Arts, and has recently begun a new venture with fellow theater prof Tom Loughlin called Theatre Arts Curriculum Transformation (or TACT). Dedicated “to the assessment and re-imagining of theatre training and education at the college and university level,” TACT has already featured some great posts, like these two on why the current system for theater education stacks the deck in favor of children of economic privilege.

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Boss : Emerging Leader :: Funder : Grantee (A Bullet-Point Manifesto)

(Note: here is my second cross-post from this week’s ARTSBlog Emerging Leader Salon. The last time I guest-blogged for Americans for the Arts, my inaugural foray into the bullet-point manifesto format became the most-viewed post on Createquity ever. Anyway, the salon is now over, but you should still check out all of the great posts!)

A boss is to an emerging leader as a funder is to a grantee.

  • Think about this: there is an inherently unequal power relationship between a boss and an employee.
    • A boss gets paid more.
    • A boss has greater autonomy to make decisions about how she does her job.
    • A boss has greater autonomy to decide what her job even is.
    • A boss can make decisions that affect not just her own work, but everyone else’s work too.
    • A boss is identified with her organization and therefore has greater visibility.
      • Meaning better connections and more opportunities to lead.
    • And most importantly…
      • The employee is to no small degree dependent on the boss for her ability to pay the bills.
  • But bosses know, and employees know, that a reliable emerging leader can be really valuable to an organization.
    • She performs mission-critical tasks that the boss doesn’t have time to do and handles routine communications that free up the boss to focus on the important contacts.
    • When people talk about “capacity-building” in organizations? Well, she’s the capacity!
    • And if she leaves, the boss will find herself in the position of having to find someone who can do that job just as well or better in a short period of time.
      • It’s a double-whammy: the boss doesn’t have time either for the job search or to cover for her ex-employee in the latter’s absence.
    • In short, despite having less power, the marginal impact of that employee on the success of the organization is huge.
  • Where have we heard this before? Let’s see:
    • A funder has the money; a grant applicant doesn’t. (And the funder’s employees usually get paid more.)
    • A funder, being accountable only to its board, often has near-total autonomy to make decisions about how it accomplishes its program objectives.
    • For the same reasons, a funder has greater autonomy to decide what its program objectives even are.
    • A funder can and does make decisions about its programs and strategies that affect not just its own work, but everyone else’s work too.
    • A funder is identified with the arts field and therefore has greater visibility and more meaningful opportunities to demonstrate leadership in the sector.
    • And most importantly: a grantee is to no small degree dependent on the funder for its ability to pay the bills.
  • But similarly, a “gold star” grantee is extremely valuable to a funder.
    • After all, funders are 501(c)(3) organizations too – they have a mission just like everyone else.
      • And they cannot accomplish that mission without their grantees.
    • The funder’s role is basically to outsource that mission to a portfolio of nonprofit organizations.
    • The funder should care about the grantee’s success or failure, because it is the funder’s success or failure as well.
  • The emerging leader “movement,” such as it is, is about investment in the future leaders of our sector.
    • We call for inclusion in discussions about the future of the organization and the future of the sector.
    • We call for skill development so that employees are not defined solely by their jobs.
    • We call for networking opportunities so that our own relationships can sustain the field when it is time for us to lead.
  • Why do we do this? It’s because our success is the field’s success. And often times, it’s also our bosses’ success.
  • The balance of power may be unequal on paper. But in the case of both bosses/emerging leaders and funders/grantees, the best outcomes are to be achieved by treating it as equal in practice – and recognizing the relationship for what it truly is: a partnership toward a common future.
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This Is How You Do It: Leading Through Changing Incentives

(This week I’m guest blogging for an Americans for the Arts blog salon on “New Strategies to Support Emerging Leaders.” The discussion is prompted by the joint effort to support grassroots emerging leader networks by the Hewlett and Irvine Foundations and invites a consideration of what role funders have to play in the coming leadership transition. Here’s my first post on the topic, from Monday. Be sure to catch the rest of the conversation over at ARTSBlog.)

In October 2009, I attended a panel put together by the Hewlett Foundation’s Marc Vogl at the Grantmakers in the Arts Conference on new models and emerging leaders in the arts. Afterwards, Marc offered to send me, like everyone else who attended the panel, a copy of the Focus Group on Next Generation Leadership report by Barry Hessenius. The report is wonderful (disclosure: I participated in one of said focus groups during my internship at Hewlett in summer 2008), but since I had already read it, my attention was drawn instead to something else Marc included in the package: an excerpt from the most recent application for funding from the Hewlett Foundation that specifically asks grantseekers to address emerging leader issues.

For context, everyone should understand that Hewlett is a major funder of the performing arts in the San Francisco Bay Area. Nearly every player in the region either receives grants from Hewlett or aspires to. So the Performing Arts Program team’s decision to put this in the application means that a lot of people will be filling it out. And just what questions will they be answering? Well, here’s a sample:

Have you provided formal feedback about job performance to all of your employees in the last 12 months (for example, through performance evaluations, a discussion on meeting job expectations, etc.)?

Which of the following work-related events do staff members OTHER THAN the executive director and top management participate in? [Choices include staff meetings, board meetings, strategic planning, and team volunteer activities]

In your annual budget, do you have a line item (or specific expense allocation) dedicated to professional development activities?

Another question asks about specific professional development opportunities provided to staff, making a distinction between top management and employees other than top management.

These are not difficult questions to answer. Most simply require a yes or a no, or perhaps checking a few boxes. If the person filling it out has any idea what his or her coworkers are up to, it shouldn’t take more than a few minutes to complete the survey. But by requiring this information, Hewlett sets expectations around what leadership development and staff support means in practice, and communicates that organizations may be judged on how they meet those expectations. That, ladies and gentlemen, is how a funder shows leadership.

And just to prove that this is not a one-sided conversation, the Hewlett application includes two additional, optional questions at the end. These are my favorites, because they ask grantseekers, openly and honestly, for advice on how Hewlett can use its resources to make accomplishing these goals easier. The first question is,

In what ways could the Hewlett Foundation and other grantmaking foundations support arts organizations’ efforts to encourage positive work dynamics?

And the second one reads,

What types of resources can be provided to your organization’s senior staff and leadership to improve communications, collaboration, and teamwork among people of different generations on your staff? (If you don’t perceive any need for improvement in this area please tell us why the intergenerational dynamics in your workplace are successful).

A central plank of the emerging leader platform, I think, is that good ideas can come from seemingly unexpected places. It’s great to see a funder tap grant applicants - not just grantees – for those ideas.

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Around the horn: Opening Day edition

So, thanks to Guy Yedwab for pointing out my foolishness around Google Docs: apparently I had made my Createquity Tipster spreadsheet viewable to everyone, but not editable to anyone except me. To edit it, you’ll have to use this form instead, which is probably a better call anyway (otherwise someone in a bad mood could erase others’ contributions). My apologies if you tried to submit something the last couple of weeks and were foiled in your efforts.

  • If you missed the webcast of the National Council on the Arts meeting the other week, the Art Works blog has a helpful round-up.
  • Kumar, we hardly knew ye: Kal Penn, the actor-turned-liaison to arts organizations in the White House Office of Public Engagement, has left government to return to Hollywood. No word on with whom, or whether, he will be replaced.
  • Wait, what? Bill T. Jones/Arnie Zane Dance Company and Dance Theater Workshop are merging? And the Harlem School of the Arts, whose former CEO, Kekuna Kerina, was a keynote speaker at last year’s Grantmakers in the Arts Conference, has shut its doors (possibly forever) due to financial problems.
  • Head’s up: Fivethirtyeight.com’s Nate Silver, baseball and political number-cruncher extraordinaire, is writing an article for New York magazine on what makes urban neighborhoods attractive places to live. He is requesting responses to a survey to help guide his analysis. One of the questions asks about the concentration of arts amenities and creative capital in a neighborhood. Umm, I’m just saying, it would be nice to have our community well represented among the respondents to this survey. Just. Saying.
  • Looks like Patricia Harris is going to be a very important woman in New York for a very long time to come.
  • Moving on to Philly, these Creative Industry Workforce grants are interesting, particularly in that they are an example of leveraging non-arts-specific federal stimulus funds through the Community Development Block Grant program. Meanwhile, the Ford Foundation is investing big in space for artists in diverse neighborhoods around the country, announcing a plan to devote $100 million to the cause over the next 10 years.
  • Things are different in Europe: there’s a great article on Pitchfork.com this week comparing cultural policy in Sweden (and other Scandinavian countries), Canada, the UK, and the United States. The article, written from a music industry perspective, considers not just public outlays of funds, but also the impact of healthcare system on musicians. Mat Dryhurst has additional thoughts. While the musicians quoted in the Pitchfork piece seem deeply appreciative of the high-tax, “social democratic” economic model that helps provide for their well-being, at least some overseas would like to see less public funding for the arts. This op-ed in the Times of London makes the case. I must say, it’s a bit of a head-spinner for this American to see an article arguing against public arts funding meet with a barrage of derision in the comments.
  • Since the health care bill passed, the main policy objection to it that has popped up from the intelligent right (that is, not the tea partiers) is that the penalties for failing to purchase health insurance are too weak. This allows young, healthy, affluent people to game the system by not purchasing health insurance and simply paying the (low) penalties, which raises the costs for everyone else. Moreover, there seems to be no enforcement mechanism to stop them from entering the system later (and reaping the benefits of other people’s payments) if they do get sick down the road. The criticism seems valid to me; what I don’t understand, however, is conservatives using this as an excuse to oppose the bill as a whole. After all, the problem seems to suggest an easy fix, and if people do cheat as described above, the political will will be there to make that fix possible.
  • Guidestar, the organization primarily known for listing digitized 990s of nonprofit organizations on its website, has been forming partnerships with a number of the “philanthropy 2.0″ start-ups over the past year or so. For example, reviews of charities from GreatNonprofits are now listed alongside their Guidestar profiles. Now, Guidestar has launched a new TakeAction @ Guidestar portal for donors that provides cause-centric information from partners RootCause, GreatNonprofits, Philanthropedia, and Createquity faves GiveWell. Also, a new podcast series features Elie from GiveWell and Saundra from Good Intentions Are Not Enough. Check out the first entry here.
  • The New York Times picks up on the “unpaid internships may be illegal” meme. One new twist: the article claims that “the rules for unpaid interns are less strict for non-profit groups like charities,” but offers no details on how exactly the rules may differ across sectors.
  • Seth Godin is a wise dude:

    The ardent or insane pursuit of a particular goal is a good idea if the steps you take along the way also prep you for other outcomes, each almost as good (or better). [...] On the other hand, if you live a life of privation and spend serious time and money on a dead end path with only one outcome, you’ve described a path likely to leave you broken and bitter. Does spending your teenage years (and your twenties) in a room practicing the violin teach you anything about being a violin teacher or a concert promoter or some other job associated with music? If your happiness depends on your draft pick or a single audition, that’s giving way too much power to someone else.

  • Also a wise dude: Clay Shirky. (Read the whole thing, as they say.)
  • Confessions of an art juror. (h/t Daniel Reid)
  • If you’ve been fascinated, like me, by Marina Abramovic’s performance installation at MoMA (“The Artist is Present”), check out a great interview with another performing artist who matched her endurance test for a day.
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Five Generosity Experiments

image by Digital Explorer, some rights reserved

I remember my first encounter with beggars. It was, oddly enough, while I was accompanying my parents on a trip to England when I was ten years old. We passed a few on the stairs into the Tube, brown women sitting on blankets with cups out, obviously miserable. I remember expecting my parents to throw them some change as we approached them. It was so little money, and they obviously needed it so much, I thought. I knew we weren’t rich, not by a long shot, but come on, we wouldn’t miss a ten pence or two. But my parents just walked on by, like everyone else, carefully calculated aloofness in their faces. It was kind of shocking and disappointing to my 10-year-old heart. My parents are good, honest, compassionate people. They had always taught me that people deserved a fair shake in life. This seemed to be against everything I had learned in school, at camp, etc. What happened to the Golden Rule? Wouldn’t you want somebody to give you some money, if you were down on your luck like that? The whole thing just seemed so Wrong on so many levels.

Of course, as adults, we learn that things are a bit more complicated. Mostly, that there are perverse incentives to consider; if it becomes lucrative for people to solicit money on the subway, for example, then a lot more people will do it, making subway rides a lot less pleasant for everyone. And then of course there’s the whole question of what happens to the money after you give it. If you want to help the homeless, sensible voices intone, direct your money to an outstanding organization that helps alleviate the problem at its root and doesn’t just reward the squeakiest wheels.

But is it enough to listen to the sensible voices? What if they’re just a way of giving yourself an excuse not to do anything? A license to avert your eyes for now, and something to procrastinate endlessly on or forget about later?

*

For those of us in the business of generosity, as it were (i.e., the nonprofit sector), our expectations of others can sometimes make turning the mirror on ourselves an uncomfortable proposition. That was the position Brigid Slipka found herself in earlier this year, when she realized that despite spending her days cajoling other people to give money, she was parting with precious little of her own.

Everyday in my news feed I see folks in the philanthropy world debating the best nonprofits to support and fellow fundraisers offering strategies on how to garner more support.  I take all these suggestions to heart, affirming to myself that yes, giving is so critical right now.

This is what I’ve actually done about it:  Nuthin’.

Here’s a fun fact! I just calculated the Percent of Income Given (which henceforth shall be known as PIG!) by me last year.  Disturbingly, the relevant numbers were to the RIGHT of the decimal point.

Ouch.

This revelation was the impetus for 40 Days of Giving, a “generosity experiment” of sorts during which Brigid (a) gives some money to a charitable cause every day and (b) blogs about the experience in funny, self-deprecating style. The website is called Actually Giving.

It’s now getting towards the end of the 40 Days, and Brigid is feeling a little burned out. More about that in a bit.

*

As sensible as ignoring beggars on the street may be, it still takes a special kind of callousness to ignore (and worse, rationalize ignoring) the obvious suffering of people right in front of you. It’s that sense of collective negligence that leads to horrific human behavior like the bystander effect. Moreover, it offends the parts of our brains that apparently are upset by inequality.

A while back, I came across an interesting post by the Acumen Fund’s Sasha Dichter describing a “generosity experiment” he conducted:

The idea, sparked by a homeless man to whom I did not give, was to spend a period of time saying ‘yes’ to all requests to give – whether a person on the street, a donation request from a nonprofit, whatever.

Like Brigid, Sasha raises money for a living. He acknowledges that his experiment is at odds with an analytical approach to philanthropy, but says that misses the point:

The people who didn’t like my experiment all said something like, “If I pass a person on the street asking for money, I don’t give because I know it makes more sense to give to a homeless shelter.”  Put another way, one could better purchase social change for a homeless person by giving to a shelter or a food bank.   Objectively, that’s probably true (though one doesn’t know for sure).  However, it also misses something: first, because whether or not you give a dollar or two to a person on the street really doesn’t affect the larger donation you’ll hopefully make to the homeless shelter or the food bank; second, because the act of saying ‘no’ over and over again is reinforcing something in you and in me.

Sasha’s right. However true the argument may be that street charity is not an efficient use of funds, even for altruistic purposes, the habit of consistently refusing help when directly asked has the unfortunate side effect of codifying, even for the generous, the basic power imbalance between those of us with means and those of us without. It presumes that we, the rich, know what’s best for you, the poor, and what’s best for you is that you continue to suffer. I am not saying that this, on its own, is reason to follow Sasha’s lead and never say no; just that the issue is complicated.

For his part, Sasha believes we could do more:

I’m not saying give every time, I’m asking us to be honest about why we do and don’t give, and to recognize the effect it has on us.

Let’s take an extreme example: suppose that over the course of the year I’m asked to give 200 times – maybe 100 times directly and 100 times by various nonprofits in various ways.  And let’s say I have a limited amount of money to give, which I do.  Isn’t the practice of saying ‘no’ 195 times and ‘yes’ 5 times reinforcing a mindset and habit that I’m the kind of person who says no when people ask for help?  And couldn’t there be a way to say “yes” 15 or 50 or 100 times that would reinforce something else entirely?

[...]

Maybe a request for a gift isn’t always chance to analyze what is or isn’t the “best” use of my money.  Instead, maybe a request for a gift is an opportunity to practice being the person that I want to be – someone whose first response is to be open and generous.

Sasha conducted his experiment for a month, and reports a positive experience overall. He will continue to give more often when people ask than he did before, and will think of it as practice for self-improvement.

*

I had a different result when I conducted my own generosity experiment, five years before Sasha’s and Brigid’s. I was living in New York, making a pittance of a salary and losing most of my meager expendable income on my band. Still, I was doing better than the homeless people I kept passing on the subway, so I decided I would try saying yes for a change. My terms were similar to Sasha’s: I would always give something, no matter what. I’d give change if I had it, but if I didn’t and the smallest bill I had was a 10, they would get the 10. The differences were that I only gave in person, not to fundraising appeals, and I didn’t have a particular time frame in mind – I would simply keep giving until it actually started to hurt me in the pocketbook.

Like Sasha, I also had people warning me what a bad idea this was. They seemed genuinely freaked out that I was actually serious about doing this. And when I say “freaked out,” I mean that I don’t think their opposition was entirely on rational grounds. At some level they seemed to find it very threatening to the way they thought about the world. To be honest, I think that only egged me on more. (I do have a bit of a subversive streak.)

For the first week or so, I felt absolutely vindicated. I said yes to whoever asked me for money, and it felt great. I mean, seriously, so, so good. Not just because I was helping these people, but because it felt so liberating. I had broken free of the stern voice inside my head warning me that what I wanted to do was helping to reward bad behavior and upset the social order. I was just treating people as I would want to be treated were I in their shoes. It was Right.

But it didn’t last. I ultimately had to cut my experiment short after a few weeks. Not because my generosity was a problem for me financially; even with my limited means, the pocket change I was giving out was insignificant in the context of my overall budget. No, it was because the pleasure I was getting from helping people soon dissipated. It dissipated because, given my regular route to and from work at similar times of the day, after a week I was no longer helping random people on the street and subway. I was helping the same people day after day. And our relationship was changing. They were beginning to recognize me as someone who gave them money, which led them to expect it when they saw me. I was becoming part of their revenue stream. This is not what I signed up for, I thought. It felt like too much responsibility, too much for me to do on my own. I wasn’t really going to change this person’s life, was I? A buck here or there was hardly going to do that. But there was an irrational element too. I began to feel disgust at seeing the same people ask me for money again and again. As soon as they were not anonymous, the image of the poor unfortunate soul was stripped away and all I saw was this person who was always bothering me on my way home from work. I grew impatient; I didn’t actually want to give them my money anymore.

And so I stopped. I can’t say that I’ve given to beggars that much more often than I did before since then. Maybe a little. I kept the wallet pretty closed when I was in school and unemployed after that; now that I have a job, I’m a little looser with my change. But most of the time, I say “sorry” and move on. Just like my parents did twenty years ago. And it doesn’t feel any better than it did then.

Maybe I could have done it differently. Maybe if I’d gotten to know them, it would feel more natural to help. But how do you get to know someone with whom you have so little in common?

*

My aunt Pam is a semi-retired financial advisor and consultant. She and her late husband started a business that made them both quite wealthy, to the point where she was inspired to write a book called How Much Is Enough? Before all that, though, she was a Peace Corps volunteer in Panama for two years in the late 1960s. During that time, she happened to rent a house from a local woman named Minga, who despite her third-grade education became a strategic partner of sorts for my young aunt during her stay.

Despite the close bond between Pam and Minga, they didn’t stay in touch after the Peace Corps gig was up. Pam wanted to return, but circumstances always got in the way. Then, four years ago, she found herself traveling to Panama City for work, and decided to pay a visit to the old village to look up Minga. Sure enough, her old friend was still there 40+ years later, and thus began a series of extended annual trips to Panama to spend time in a completely different environment than Rochester, NY, where Pam spends the rest of her year. And so was born the blog Pam Klainer’s Day, which is a beautifully-written travelogue and fascinating cultural study all in one. Pam Klainer’s Day began last year, during the third post-Peace Corps visit, and continues now as she prepares to wrap up her fourth.

One of the things that makes Pam’s blog so compelling is that she does not shy away in the least from the looming class issues that pervade her experience in Panama. In fact, I would go so far as to say that class is one of the central themes of her writing. (Not surprising for someone who has made a living talking and writing about the meaning of money in one’s life.)

Though Pam will sometimes assume the role of Lady Bountiful for the family, buying them computers and helping with one of the grandsons’ medical issues, for example, she is honest with us about the limits of her generosity and sacrifice. When she visits Panama, she does not stay with the family, but rather in a fancy villa with tourists and wedding parties. She has written about the barriers of class even when she is trying to help. Yet story after story demonstrates that in such a context, the simplest gifts can have the profoundest of impacts. Pam writes of two tear-jerking notes she received this year from two of Minga’s daughters that lay bare a sad reality: that simply by taking them seriously and showing concern, Pam sets herself apart from the other people in their lives.

Gloria’s note tells us that she was born into a poor and humble family. By the age of 14 she was working in Panama City as a servant, and suffering great humiliation – such as the employer who counted the slices of bread, and docked Gloria’s pay if she ate more than one piece for breakfast. From then until now, the blows have come often and hard. Moments of even slightly better fortune have been few.  People such as Gloria learn to keep their heads bowed, their eyes downcast, their shoulders bent, the better to escape the enmity of the world around them. One of her employers told Gloria that the problems between rich and poor are the fault of the poor, who envy all the blessings God has rightly bestowed on the upper class who know what to do with them.

Gloria asked me if I remembered 2008, when she and I first met. As I was leaving the villa, I gave her some money so that she would have a financial cushion of sorts. I told her that it pained me greatly to hear of her being treated badly by employers. I said that if people were unkind to her, she needed to be able to leave and find other work and not have to worry about whether her family would eat that night. And I told her that when she talks to people, she needs to keep her head up, her eyes looking straight ahead, and her shoulders back. The renters who followed me were, in fact, people she describes as “ogres”. Instead of crumbling, she called her supervisor in the rental management company and told her she wouldn’t work for these people if they continued to treat her badly. This was a first for Gloria, and the outcome was good. The supervisor spoke to the renters, and their demeanor improved.

The crux of Gloria’s letter today is that we have given back her dignity in small but enormously significant ways. I invite her not just to prepare the food, but to sit at the table with us and eat. I and my guests visit her home. We take her on outings with us: to the casino, the zip line, on shopping trips to Penonome. If she stays here late and misses the inexpensive transport I give her money for a taxi, instead of expecting her to walk the four miles to the village. Here, in her words, is the essence of the gift:

“Although I am born poor and humble, you and your friends have shown me that we are equal in the eyes of God. It doesn’t matter to you that I am dark, that I never got to study, that I wear inexpensive and poorly made clothing and shoes because that is what I can afford. It matters to you that I am a person, a wife and mother, a good worker, a person of faith. You care whether I have had breakfast, if I look tired, if I am preoccupied about something. When you can, you help. You care about me, and you have helped me care more about myself. Now I am a woman of boldness and courage, and not just an ungrateful servant.”

*

As compelling as my aunt’s own adventures in Panama are to read about, the latest plot twist has me thinking even more about beggars, misfortune, and generosity. About a month ago, Pam mentioned on her blog a “lost boy” who sometimes hangs around the neighborhood where Minga’s family lives. His father had abused and abandoned him (though he still would force him on occasion to scavenge for cans and bottles on his behalf so he could trade them for drugs), and no one else wanted anything to do with him. Gloria’s (the same Gloria quoted above) son Luis suggests that the family take the boy in, but Gloria demurs: “they have all they can do to keep themselves afloat.” But what do you know, two days later, the boy “who not only has no last name but has been called at various times by three different first names” found himself with a new home and a new family. Gloria spoke with his biological father and got him to agree to give her something akin to legal guardianship, which allows her to access his official records and assume care of him. As he is twelve years old but cannot read and write, Arturo (as he is now called) already been enrolled in a school for kids with special needs, been baptized, and generally welcomed into his new family.

Arturo’s story is inspiring to watch from afar. And it is humbling when I think about my discomfort with facing beggars on the street. I stopped my generosity experiment because I found myself resenting having to give a quarter or a dollar to the same strangers in the subway day after day. Gloria gave a stranger off the street not just a dollar, but her home, family, and unconditional love. Her generosity experiment will last a lifetime.

I suspect that economists of the traditional sort would have difficulty rationalizing Gloria’s decision. Gloria just made a huge sacrifice. She is not a woman of means. Just a few days before she took Arturo into her family, she declined because she said she couldn’t afford it. (Her own son, Luis, has suffered from a foot deformity since birth and is only now, at age fifteen and with Pam’s financial assistance, receiving proper treatment for it. Luis, you might recall, is the one who suggested taking Arturo in in the first place.) The economist’s first resort would be surmise that Gloria derives some large measure of utility from raising a child that had been abandoned by society, enough to outweigh the sacrifice involved. Fair enough, but if that’s the case, why didn’t she make the conscious decision to seek out and raise foster children before? Why did she wait until one fell in her lap? Were the transaction costs really that much of a factor? Does the high cost of adopting abandoned boys off the street make it a luxury good? And if so, why don’t more rich people do it?

My intuition is that Gloria made this decision, a decision that will irrevocably change her life as well as those of Arturo and everyone in her family forever, on the basis of her gut and her devotion to God. “Rational” is not really the framework to use here, nor, in a way, is “choice.” I wouldn’t be surprised, based on Pam’s writings, if Gloria felt almost compelled to do this by her religion and her moral compass.

Ironically, someone like Pam or I would be in a far better position to adopt a strange, abandoned child, but I suspect neither of us would ever consider doing so. I’m reluctant enough as it is to give a quarter to guys on the subway – not because I’d miss the quarter, but because facing up to how much luckier I am than they, even for a moment, would be too much of a bummer for my day. Does having more to lose make one less generous to one’s fellow human beings? And if so, what are the implications for philanthropy within a capitalist system that rewards the accumulation of wealth with more power, access, and wealth?

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Eric Whitacre’s Virtual Choir

This video has been making the rounds for the past week or so. Eric Whitacre, for those of you who don’t know, is a rockstar choral composer who has made a killing for himself by focusing not on professional or established community choirs, but rather the high school and college circuit. His works are accessible but still identifiably contemporary, often employing diatonic clusters (which can sound a little harsh when performed by instruments but great when sung by a chorus). If you’re wondering why the singers all (a) look like they’re under 30, and (b) look like they’re in heaven, that’s why.

For this Virtual Choir performance, of Whitacre’s “Lux Aurumque,” 185 singers recorded videos of themselves singing the parts and sent them in to be visually and sonically mixed into the final product. It’s not surprising to me that Whitacre would be the one to pull this off (though it seems this is actually the second such video; the first was done 8 months ago to the composer’s “Sleep”). I’ve been wanting to write about him for years; maybe someday I’ll finally get around to it. Back when Myspace was a thing, as my friend from high school likes to say, Eric Whitacre had by far the most friends of any “new music” figure around, and the intensity of fan worship on his page was simply mind-boggling to behold.

Anyway, if you can get past the cheesy conductor faces and the 1994-era 3D animation, it’s pretty cool. In fact, the most interesting ramification for me is the potential for composers to use this model to crowdsource demo recordings of their large ensemble or even chamber pieces. All you need is a conductor (yourself?) and perhaps a MIDI recording of part and score, and you could be well on your way.

Given that just getting the piece from the page to the ear in a credible way is one of the biggest challenges for the emerging composer, this could be a game-changer.

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Around the horn: Lazy Sunday edition

  • The carnage continues for state arts agencies: now Arizona is on the chopping block, as the Arizona Commission on the Arts faces another 25% loss from a state appropriation that already declined by more than half last year. Worse, the state has enacted a “sweep” of a $10 million endowment fund that was supposed to provide a continuous revenue stream to the agency. Leonard Jacobs has more on the sorry story of state arts councils – apparently Georgia is also looking at a 50% cut this year after already losing ground the last couple of years, and Utah lost (a comparatively moderate) 18.1% from its appropriation last year. One thing I wonder – and worry – about is whether the current toxic political climate, combined with the way the arts have become politicized in the last year, will lead to an increasing disparity in the per capita funding level between red states and blue states. Last year, it didn’t seem to go that way (arts cuts seemed to track much more strongly with, say, the rate of unemployment in a state), but who knows what this year will bring.
  • All content is vulnerable: annual sales of karaoke machines and software have plunged 80% since 2002. Video games (such as Rock Band), online streaming services, and digital piracy are being fingered for the blame. As in other contexts, people are seeming to gravitate toward the convenience of home more than the excitement of the live (or, in this case, “live”) experience. But how robust are the video games and the online streaming services instead? Suzanne Lainson, who has been on this case for a while over at Brands Plus Music, considers the dangers of hypercompetition, where conditions are not just competitive within an industry but the barriers to switching industries are low too.
  • Some good news: EmcArts’s Innovation Lab for the Performing Arts is back, with three more rounds planned for 2010-11. Hat tip to Andy.
  • The NEA has released a new research note called Come As You Are: Informal Arts Participation in Urban and Rural Communities. The research note is an analysis of the 2008 Survey of Public Participation in the Arts, focusing on geographic differences in arts participation. The note finds that while attendance at professional performing arts events, museums, and galleries is significantly higher in urban areas, people participate in “informal” arts at similar rates. This suggests that there’s no intrinsic difference between rural and urban populations in terms of interest in the arts, and lends support to the supply-side, “if you build it, they will come” philosophy in the arts (assuming if “it” doesn’t already exist in the area in question).
  • Congrats to Springboard for the Arts’s Laura Zabel, who was named one of the Minneapolis / St. Paul Business Journal‘s “40 Under Forty.” (How ’bout them apples, Edward Clapp? They’ve got twice as many under 40′s as you!) Laura posted an excellent summary of what the new healthcare reform bill means for artists this week on SpringBlog. And speaking of healthcare, Isaac Butler rightly points out that the new bill is “a far far greater act of supporting the arts than anything that Obama will be able to accomplish in terms of increasing NEA funding.”
  • The first recipients of the inaugural month of the Pepsi Refresh contest have been announced, and Createquity commenter Kevin Erickson’s All Ages Movement Project is among the winners in the $50,000 category. Other arts and culture winners included The Foundry for Art Design + Culture, Glenmont Elementary School for a swing-dance project, and Homespun, a new retail store in Indiana selling homemade goods.
  • Emerging leaders aren’t just for the arts: the Kellogg Foundation has invested $100 million of its endowment in an “Emerging Manager” portfolio, focusing on small, newer investment managers and firms owned by women, minorities, and employees.
  • Want to put nonprofits through the ringer just like the hardass charity evaluators at GiveWell? Here, they’ll give you a step-by-step guide.
  • Alex Tabarrok breaks down statistical significance. Short version: the models rarely are precise enough to mean what people say they mean.
  • Maryann Devine considers the cultural etiquette of arts flash mob videos.
  • Here are some good networking tips for artists.
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National Council on the Arts live webcast tomorrow

Tomorrow, the National Council on the Arts will meet in DC. For those who don’t know, the National Council on the Arts is the official advisory body for the NEA – a little bit like the equivalent of the NEA’s Board, if it were a nonprofit. According to the NEA website, the Council advises on matters including:

  • Applications for Federal grant funds recommended by advisory panels;
  • Guidelines outlining funding categories, objectives, and eligibility;
  • Leadership initiatives and partnership agreements with other agencies;
  • Agency budget levels, allocations, and funding priorities;
  • Policy directions involving Congressional legislation and other issues of importance to the arts nationally.

Kind of important, yes? This is your national arts agency that these people are advising!

In the past, the Council meetings have been open to the public, but you had to trek down to the Old Post Office building in Washington, DC, where the NEA is located, to check them out. No more. This year, the entire meeting will be webcast via the Art Works blog – just go to the Art Works main page and follow the instructions. The meeting takes place from 9-10:45am Eastern time and will feature the introduction of Irvin Mayfield into the Council as well as a presentation from the NEA’s Research division and highlights from the Art Works tour. According to the blog post, the NEA folks are inviting real-time reaction via comments. If you have something to say, I am sure they would love to hear from you!

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