This booklet is intended to help board members make the right decision by taking them through the challenging, fascinating, frustrating, and sometimes painful but critically important steps of leadership change. It is a journey during which board members, the outgoing leader, and existing staff can be in dramatically different places, both intellectually and emotionally. This booklet sets forth the overall process, noting the board's particular role in each stage, and concludes by identifying some typical errors and how boards can avoid them. (p. 1-2)

CONTENTS
New concepts of

With respect to governance, conventional wisdom suggests that boards of directors are expected to (1) set overall strategy and policy objectives, (2) react to the ways the staff plans to achieve those aims and (3) monitor whether the organization is making sufficient progress toward its goals.

As I've met with hundreds of board members and chief executives over the past two years, I've had a chance to listen to their very strong reactions to what some perceive as sagging public confidence in the nonprofit sector and growing concerns about the accountability of America's nonprofit organizations.

The purpose of this paper is to present the results of a research project into the boards of thirteen non-profit arts organizations in Queensland; place this in the context of recruitment, orientation, and training processes for board directors; and build a model for effective recruitment and training practices in non-profit arts organizations leading into the next century. (p. 211)

Author discusses the development and management of the La Pena Cultural Center in Berkeley, California through the use of a cultural collective--a group of staff members responsible for the organization with only a nominal board in place in order to comply with nonprofit incorporation laws. The author was a member of the staff collective.

Discusses the future of theatre and the new kinds of boards that will be needed  to continue to maintain the funding and support required with the rising cost of theater production and taking those productions on the road.

Discussion of the board of IMAGE Film/Video Center in Atlanta, Georgia of which the author is executive director.

Discussion of the board of Pan Asian Repertory Theatre in New York City founded by the author.

Discussion of the board of the Bardavon Opera House in Poughkeepsie, New York, an historic opera house and later renovated movie house now used as a presenting facility.

Discussion of the board of the Bay Area Women's Philharmonic in San Francisco, California, of which the author is executive director and co-founder.