Nina Simon

Building a Pipeline to the Arts, World Cup Style

Posted by Nina Simon, Jul 11, 2014


Nina Simon

Nina Simon

In light of our upcoming webinar on July 23 at 3pm on sports and arts partnerships, the World Cup final this weekend, and our upcoming blog salon next week on unique arts/business partnerships - we reached out to Nina Simon and asked if we could repost a blog she wrote for Museum 2.0 on learning from the growing popularity of soccer in the United States, and how we might relate and apply it to the arts world.

It's World Cup time. And for the first time in my adult life as an American, that seems significant. People at work with the games running in the background on their computers. Conversations about the tournament on the street. Constant radio coverage.

If you are reading this outside the United States, this sounds ridiculously basic. Football/soccer is the world's sport. But in the US, it has only recently become something worth watching. For most of my life in America, pro soccer was considered something risible and vaguely deviant, like picking your nose in public.

But now it's everywhere. It's exciting. And it's got me thinking about how we build energy and audience for the arts in this country.

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Casey Gill Summar

Millennials: A Volunteer State of Mind?

Posted by Casey Gill Summar, Jun 19, 2014


Casey Gill Summar

Casey Gill Summar Casey Gill Summar

An Americans for the Arts' colleague recently shared this interesting article claiming that social activism is the “new religion” of the millennial workforce and asked if I felt this was true in my experience building partnerships between arts and business. In full disclosure, I think I’m just outside the millennial generation, but I will say there is something core to this concept of passion and commitment for your cause that drives me and my younger colleagues. We all share the desire to not just donate to a cause, but to contribute time and expertise as well, to bring along all friends, and in short, tell everyone we know how important this cause is to our hearts. I’m definitely guilty of this. You don’t have to spend much time around me to learn that I’m an ardent advocate for the arts, that I love my little transitional neighborhood so much I joined the board of the association, or that I’m a fan of living local right down to my front-yard garden. As the Executive Director of the Arts & Business Council of Greater Nashville since 2012, I have worked to incorporate some of these concepts of volunteerism, meaningful partnership, and first-hand experiences which I desire into our program offerings.

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Kristen Engebretsen

Students Embrace Their Creativity through Custom Culture

Posted by Kristen Engebretsen, Jun 18, 2014


Kristen Engebretsen

A winning school is picked by vote, based on a set of four uniquely designed VANS shoes.

 

Editors Note: Americans for the Arts has partnered with VANS for the past two years on their Custom Culture program. Last night in New York City was the final event, where the winning shoe design was picked. Below are remarks that our Arts Education Program Manager made during the event:

Hello, my name is Kristen, and I'm the Arts Education Program Manager at Americans for the Arts. Whether you like to sing in the shower, dance like no one is watching, or design the next great VANS shoe, we want to support that. Our motto is "All the Arts for All the People."

We firmly believe that the arts have the power to transform lives. In fact, last year we had the privilege of featuring an artist at our annual convention named Inocente. Her story is nothing short of incredible. As a teenager, Inocente was homeless, the victim of abuse, and the daughter to undocumented immigrants. Her life had hit rock bottom until one day she walked into an arts center in San Diego called A Reason to Survive. She began painting, and indeed, it gave her a reason to survive. She graduated from high school and selling her art kept her from living on the streets. Her powerful transformation was featured in the Oscar winning documentary, Inocente.

Inocente designed these as an ambassador for Custom Culture. Inocente designed these as an ambassador for Custom Culture.

 

Americans for the Arts knows that learning in the arts enables every individual to develop the critical thinking, collaborative, and creative skills necessary to not only survive but thrive in today's ever-changing world. And so when VANS approached us a few years ago about partnering on Custom Culture, we could see that they too value the arts as an integral part of all students' education. Together we hope to encourage high school students to embrace their creativity and inspire a new generation of youth culture.

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Maura Koehler-Hanlon

Shaking Up Employee Volunteer Programs

Posted by Maura Koehler-Hanlon, Apr 24, 2014


Maura Koehler-Hanlon

Maura Koehler-Hanlon Maura Koehler-Hanlon

The following is an article originally posted on VolunteerMatch, written by vice president of Client Services Maura Koehler-Hanlon, in which she describes how she recently challenged the existing system of employee volunteer programs, and argued for an overhaul of the field. Visit VolunteerMatch for more articles about volunteering and corporate social responsibility.

Earlier this month I hit the road with Vicky Hush, VolunteerMatch’s VP of Engagement & Strategic Partnerships. We headed up to Portland to present to Hands On Greater Portland’s Corporate Volunteer Council to share our expertise with employee volunteer managers about how to keep your employee volunteer program (EVP) fresh and exciting. Leading up to the presentation, we had a tough internal conversation which amounted to this: how controversial did we want to be? What would happen if we just came out and said that we think EVPs should be doing more? We decided to go for it – those Portlanders are a tough bunch with all that fresh air! And it worked: when we asked the room of EVP managers “how many of you feel like your employee volunteer program is as strong as it can be?” we (not surprisingly) didn’t see a single hand.

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Stephanie Dockery

The Sweet Side of Arts and Business (from the pARTnership Movement)

Posted by Stephanie Dockery, Jan 23, 2014


Stephanie Dockery

Stephanie Dockery Stephanie Dockery

According to the 2013 BCA National Survey of Business Support for the Arts, 66% of businesses who do not currently support the arts report that they have never been asked to do so.

ProjectArt, an organization aiming to close the “access” gap in youth arts education, has taken that lesson to heart - and is now celebrating an innovative and successful partnership with Jacques Torres Chocolate for holiday and Valentine’s Day promotions that grew out of an exploratory phone call: ProjectArt asked.

Children and candy are a natural link, and the giving season is the perfect time to advocate for ProjectArt’s programs, which include art instruction, promoting art access through public libraries, and gallery exhibitions for their pupils, largely from low-income areas. Stickers attached to containers of the Jacques Torres malt balls promote that “one box of chocolate covered malt balls = one free art class for a child.”

Affectionately known as “Mr. Chocolate,” Jacques Torres founded his company in New York City in the year 2000. In 1988, he emigrated from France and became the corporate pastry chef for the Ritz-Carlton, then served as executive pastry chef at Le Cirque from 1989-2000. Jacques Torres Chocolate is headquartered in New York, and the chocolate in manufactured in Brooklyn, establishing him as the quintessential American dream. A supporter of New York nonprofits, Jacques Torres has a personal passion for supporting youth initiatives, making ProjectArt’s proposal a perfect fit.

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Donna Sapolin

7 Things The Ballet Can Teach Us About Work

Posted by Donna Sapolin, Dec 26, 2013


Donna Sapolin

Donna Sapolin Donna Sapolin

I love the fall/winter season in New York. Everything seems to come back to life once September rolls around and the arts kick into high gear, igniting the city with blasts of creative energy. People begin flocking to music, theater and dance performances.

A few weeks ago, I went to see the San Francisco Ballet (SFB) at Lincoln Center’s David H. Koch Theater during its first visit to New York in five years. The SFB is America’s oldest professional company and has achieved great acclaim for its overall excellence and emphasis on new ballet choreography.

The thrilling three-part program I saw - a mixed bill of two classically oriented dances (“Trio” and “Suite en Blanc”) and a contemporary one (“Ghosts”) - was utterly captivating.

Ballet Is a Microcosm of Successful Approaches to Work

Are you familiar with the famed song “At the Ballet” from the award-winning Broadway musical, A Chorus Line? It depicts ballet (and ballet lessons) as an antidote to a problem-riddled childhood because, as the chorus says, “Everything was beautiful at the ballet.”

Well, everything is beautiful at the ballet. But that exquisite perfection is the result of a great deal of creative intelligence, effort, and teamwork.

As I watched and admired SFB’s virtuosic performances complete with lush costumes, sets, and music, it struck me that the total package encapsulated all the values and steps I believe make for career success. Here they are:

1. Listen intently. Ballet dancers hinge every move and gesture on the musical score’s rhythm and emotion and the choreographer’s instruction. To do otherwise would result in failure.

We tend to forget how much we can learn by simply paying attention to others’ concepts and expert guidance, particularly in these tech-driven times when so much is competing for our attention. Lending an ear and being truly “present” to what others are saying are vital for learning new skills and absorbing valuable ideas at work. They’re also great ways to make your colleagues feel respected and spur their productive cooperation. So, lean in, make eye contact, speak less and listen conscientiously.

2. Take many steps. Top ballet dancers don’t think in terms of reducing the number of steps in the dances they perform nor do they believe they can cut back on their practice and rehearsal sessions and still manage to excel on stage. The SFB website explains: “Dancers’ lives are full of daily ballet technique classes and rehearsals. A typical workday can start with an hour-long class, followed by four to six hours of rehearsal, often concluding with a two-hour evening performance.

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Eileen Cunniffe

The Skills Businesspeople Gain on Nonprofit Boards

Posted by Eileen Cunniffe, Dec 19, 2013


Eileen Cunniffe

Eileen Cunniffe Eileen Cunniffe

UK Minister for Civil Society, Nick Hurd, used the occasion of the country’s “Trustees Week” to issue a call for more businesses to encourage their employees to join the ranks of nonprofit board members. Noting that there already are a million volunteer leaders in the UK, he cited a significant number of vacant board seats in the charity sector. This challenge is also prevalent among US nonprofits—and no doubt in other parts of the world, too. And as anyone who has served on a nonprofit board knows, even when there is a full complement of board members, there is always a need to consider who will come next, and how the board will renew itself over time.

Hurd notes how much expertise businesspeople have to offer to nonprofits. Importantly, he also makes the case for how business professionals—and their employers—benefit from board experience. Research done by the City of London demonstrated increased skills among volunteer leaders in categories including team building, negotiating, problem solving, and financial knowledge.

Boards require collaboration, and “leadership moments” may present themselves to charity trustees at earlier stages in their careers than they might in the corporate setting, allowing business professionals to gain confidence and try out new skills in a different environment. And there are, of course, often business benefits to be gained from networking with other board members.

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Ms. Mara Walker

Fostering a Culture of Giving in Hong Kong

Posted by Ms. Mara Walker, Dec 17, 2013


Ms. Mara Walker

Mara Walker Mara Walker

I recently returned from Hong Kong where I participated in the International Arts Leadership Roundtable organized by the Hong Kong Arts Development Council. As with many countries around the world, the arts and culture organizations in Hong Kong are often funded 70, 80, or 90% by the government. They need to diversify their funding pool and are looking to the United States as a model. I was the only American among other arts representatives from Australia, Canada, England, Singapore, Japan, Korea, and many others from Hong Kong itself - all envious of our perceived high degree of private sector resources going to the arts, our ongoing ROI on public sector support, and the existence of Americans for the Arts to advance all of the arts for all the people in this country.

While there is money on the ground in Hong Kong, evidenced by the beautiful Hong Kong skyline and downtown light show I witnessed nightly, there isn’t a culture of giving. Leaders from the arts, academia, business, media, and government were brought together to discuss how to create change and foster giving to the arts and it was great to be a part of the conversation.  Americans for the Arts staff are often asked to travel around the world to talk about the U.S. funding model for the arts in order to provide a roadmap for such change. There is a sense that we’ve figured it out. It’s true that we have a long tradition of giving in this country, but private sector support could - and should - be larger. It currently accounts for roughly 30% of an arts organization’s budget, with individual giving accounting for a majority and corporate and foundation support behind. IMG_5626

On a positive note, we are seeing increases in businesses giving to the arts (2012 saw a return to 2006 levels of support) but only 4.6% of total corporate giving goes to the arts, as those dollars are always competing with social and health causes for attention. Businesses focus their arts giving on impacting the communities in which their employees live and work, and we are working to build the awareness about how partnering with the arts can help them reach their business goals. I spoke about our pARTnership Movement campaign when I was in Hong Kong and how we are demonstrating that connection by changing the dialogue to less be about an ask for money and more about building strong and lasting arts and business relationships that are mutually beneficial - financial support often follows.

That isn’t to say that “the ask” isn’t important. “The ask,” whether for funding or partnering, is everything. Positioning the arts as a solution provider that builds employee creativity and retention and strengthens the community is key. We have seen the power of collaboration time and time again, which is why we feature success stories on our website, recognize where partnerships have been effective through our BCA 10 awards and communication vehicles, and share ideas for creative partnerships at conferences and gatherings.

Our meeting space in Hong Kong was in the new Asia Society complex which beautifully stands as a testament to partnerships, constructed with funding from both government and private sources. The venue now has not only a meeting space but also features a theatre and gallery, where they were showing the daring “No Country: Contemporary Art for South and Southeast Asia” exhibit, jointly presented by the Asia Society Hong Kong Center and The Solomon R. Guggenheim Foundation New York as part of the Guggenheim UBS MAP Global Art Initiative.

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Judy Belk

As Corporate Giving Bounces Back, Six Things Nonprofits Need to Know

Posted by Judy Belk, Dec 13, 2013


Judy Belk

Judy Belk Judy Belk

After years of recession-battered budgets, nonprofits finally are getting good news: U.S. charitable donations appear to be rebounding. Corporate giving, in particular, increased a cumulative 14.7% since 2010, according to the Giving USA Foundation. The median of total giving by companies jumped 23% last year and is almost back to pre-recession levels.

Many, but not all, nonprofits are getting some lift from that rising tide. A survey by the Nonprofit Research Collaborative found that 42% of nonprofits said they received more corporate funding in 2012 than in 2011.

Converging trends, however, are shaping how such funds will be allocated in the future. Most notable is pressure from customers and employees for companies to become better corporate citizens. At the same time, business-oriented thinking is coming to bear on philanthropy, including "impact investment" approaches, leveraging non-cash assets, more strategic planning and a desire to align charity and corporate missions.

These changes are spawning new expectations for nonprofits - but also revealing new resources for them to tap. Here are six trends to understand to successfully engage corporate donors.

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Ken and Scott Blanchard

What Improv Can Teach Your Team About Creativity And Collaboration (from the pARTnership Movement)

Posted by Ken and Scott Blanchard, Dec 05, 2013


Ken and Scott Blanchard

Ken and Scott Blanchard Ken and Scott Blanchard

We knew any presentation by actors from The Second City, Chicago's world-famous improvisation troupe, would be funny. But who knew we would walk away with key insights into creating a collaborative work environment?

Yet that's exactly what happened after we participated in an exercise led by Second City actors Colleen Murray and Mark Sutton at our recent Client Summit. Murray and Sutton asked us and the 200 other participants to break into groups of three for an exercise that taught us a valuable lesson about the power of positive reinforcement in fostering creativity and innovation.

The exercise started off with an imagined scenario: plan a memorable company party. One person in each group was designated as the party planner. Their task? Come up with some creative party ideas. The other two members were instructed to listen to each new idea, but then reject it and explain why. The negative responses had a chilling effect on the person pitching new ideas. Even the most creative types gave up after four or five ideas. They lost their ability to come up with anything in the face of all that negativity.

Next, Murray and Sutton instructed the three-person groups to rotate roles. Now a new person pitched ideas while the other two listened. But this time, instead of rejecting the ideas outright, the listeners were instructed to use a more subtle “yes, but…” response and share why the idea wouldn't work. Again, it was a frustrating experience for the idea givers, who quit after trying a few times and getting nowhere.

Finally, the groups were instructed to rotate roles again. This time the two listeners were to use the phrase “yes, and…” to acknowledge, affirm, and build on the idea. The “yes, and…” response made all the difference. Ideas flowed. The groups generated innovative, creative approaches that none of the individuals would have come up with on their own. The increase in energy and collaboration was palpable as the room buzzed with animated conversations, laughing, high fives, and every other behavior you would expect to see when people are genuinely engaged with each other.

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Rodney Camren

Support the Arts! It Matters in Real Estate! (from the pARTnership Movement)

Posted by Rodney Camren, Nov 27, 2013


Rodney Camren

Rodney Camren Rodney Camren

Listen closely please; do you hear those words of a famous quote from Shakespeare in your community? Look over there; do you see a young lady in a white leotard elegantly positioned on just one toe? Is your breath taken away from the musical notes and talents of the lyrical soprano singing effortlessly on stage?

Or do your spirit, mind and body travel to unknown worlds when engulfed by the combination of horns, keys and drums playing in a symphony? Do you tear up, laugh, or get angry over shades of paint arranged by brushes? Well you should, not only for cultural awareness but for real estate value as well.

When communities invest in the arts they are fueling economic growth, creating jobs, increasing property values and making their communities more attractive to young professionals who want to start a career or business, a family, and home environment. These young professionals are increasingly driven by quality of life and cultural amenities in their cities of choice. The most famous of theatre districts of course is Broadway! “Besides New York, the popularity of Broadway theatre has spread to Chicago, Los Angeles and other major cities in the US. It is the highest level of commercial theatre in the English-speaking world. It is followed by West End theatre in London” stated Author David Corn. He also states that Ticket sales on Broadway exceed 1.5 billion dollars annually.

The Woodruff Arts Center’s in Downtown Atlanta is one of the nation’s largest arts institutions, and the art and education programs it creates. This year’s record campaign goal is $9.5 million, representing approximately 10% of the Woodruff Art Center’s overall operating budget. Detached Homes being sold in a one mile radius of the Woodruff Arts Center cap out at $3.5 million and when you consider those homes attached such as condo’s and townhomes well you get top dollar at $1.8 million.

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Greg Satell

What Jazz Can Teach Business About Innovation

Posted by Greg Satell, Nov 21, 2013


Greg Satell

Greg Satell Greg Satell

In a recent episode of Boardwalk Empire, Chalky White’s wife was angry because he took his son to play with Jazz musicians at his nightclub.  She feared that it would upset the order of his classical training. Traditionally, business executives have felt the same way. They would bring in bright young prospects and make them “organization men”—and later women as well—who would work their way up through the system and then indoctrinate the next generation.

Yet the past few decades have altered things considerably. The LBO craze in the 80’s, the PC revolution in the 90’s and the digital disruptions of the 21st century have radically changed how we need to approach business problems. Strategic planning has become less tenable and we need to adopt more adaptive approach. Jazz holds important answers.

A Struggling Artist In New York

Coming from a meager background, Carl Størmer was determined not to be a starving artist, but after graduating with two graduate degrees—a Masters degree in Music and another in Arts Administration—that’s just what he was becoming. He spent most of his time playing in clubs and improving the mastery of his craft, but making very little money.

So he started learning computer code, got a job as a database consultant at a Wall Street law firm and then started a career at IBM.  Later, he founded a startup and became Marketing Director at a Norwegian airline. Størmer had, in every conventional sense, become a successful business executive.

Yet he still continued to play and the more he did, the more he became dissatisfied with corporate life. As he thought about it, he realized that business organizations operated a lot like classical music, with structure dictating action rather than the other way around.

The thoughts turned to writing; the writing turned to consulting and even led to a Harvard Case Study. Today, his organization, Jazzcode, works with executives at some of the world’s largest corporations, such as IBM, Siemens and Novartis.

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Patrick O'Herron

The 5 Things You Might Not Be Doing When Considering a Business pARTnership (from the pARTnership Movement)

Posted by Patrick O'Herron, Nov 15, 2013


Patrick O'Herron

Patrick O'Herron Patrick O'Herron

At the pARTnership Movement, we think it’s fantastic that you are considering the benefits of an arts and business partnership, and that you're sharing the values we have ignited through the 8 reasons businesses partner with the arts. But we understand that the road is long and winding, and there are pitfalls along the way. That’s why we have composed this list of the 5 things you might not be doing when considering such a partnership, and examples of how to best start.

1. Are you even asking?

According to the BCA National Survey of Business Support for the Arts, of the 600-plus small, midsize and large businesses surveyed, 66% of businesses that don’t give to the arts stated that they were not even asked to contribute to the arts—that is two-thirds! It is our responsibility to deliver the message to businesses that the arts can help build their competitive advantage, so write those letters, set up those meetings, attend chamber of commerce meetings and make those connections—start building relationships now.

psipostpatrick12. Are you considering small and midsize businesses?

Your first instinct as an arts organization may be to run to the nearest bank or local industry giant to seek support for your programming, but according to the BCA Survey, small and midsize businesses contribute 82% of the total contributions to the arts. Exemplary examples of small and midsize business partnerships include Caramel Boutique, a DC-based clothing store that is redefining the U Street corridor as an arts destination by hosting free art shows for local artists on a monthly basis, and the Pfister Hotel in Milwaukee, which turns its guests’ stay into a work of art through its Artist-in-Residence program. Download our tool-kit, “Creating pARTnerships with Small and Midsize Businesses,” as a useful resource.

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Ajaz Ahmed

Bridging the Gap Between Art and Business (from The pARTnership Movement)

Posted by Ajaz Ahmed, Oct 31, 2013


Ajaz Ahmed

Ajaz Ahmed Ajaz Ahmed

Successful collaborations between brands and artists are possible, once outdated preconceptions are overcome.

Where art and business overlap: Burberry's collaboration with artists adds to the credibility of the brand. Photo Credit: Felix Clay Where art and business overlap: Burberry's collaboration with artists adds to the credibility of the brand. Photo Credit: Felix Clay

The poetry of ancient Persia is full of bridges. In the works of Rumi and others, metaphors are the bridges of art, in the sense that they unite two seemingly irreconcilable things. They give people a route to make sense of an alien world or concept by relating it to something familiar. They illuminate by association: here is how this world connects directly to that other, seemingly isolated world. Bridges also represent journeys between states of being, rather than just a means of get from A to B. For example, the Persian belief that people in the west are perhaps too far over on the prose side of the bridge, while the east is too drawn to the poetry side. If only we could meet in the middle, we might find a perfect balance of mind and body, of calculation and creativity.

That idea of two cultures stuck at either ends of the same bridges could be applied to art and business today. They need each other, despite their apparent differences; they are concerned with many of the same things, but that is obscured by their mutual suspicion. Perhaps a bit more metaphor and magic would be a start in changing this state of affairs. If arts practitioners and brands had the same big, captivating idea to focus on, cultural differences would be pushed to the side and more worthwhile collaborations would surely result.

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Eileen Cunniffe

Study Underscores Health, Wellness, and Career Benefits of Volunteering (from The pARTnership Movement)

Posted by Eileen Cunniffe, Oct 24, 2013


Eileen Cunniffe

Eileen Cunniffe Eileen Cunniffe

It’s no secret within the nonprofit sector that volunteers are often the difference between “make” and “break,” the special sauce that keeps an organization moving forward, delivering against its mission, serving its constituents. From hands-on volunteers to skills-based volunteers to the volunteer leaders who serve on boards, it’s almost impossible to calculate the value that those who give back add to the sector. So it’s nice to know that those who volunteer benefit from the experience as well.

A national survey of 3,351 adults conducted by Harris Interactive on behalf of UnitedHealth Group demonstrates that volunteering is good for your health. Here are some of the takeaways from this research:

  • Volunteers say they feel better—physically, mentally and emotionally—than non-volunteers
  • Volunteering helps people manage and lower stress levels
  • Volunteers feel a deeper connection to communities and others
  • Volunteers are more informed healthcare consumers and are more engaged and involved in taking care of their own health

If you work with volunteers—or if you are one yourself—those first three points are probably not very surprising. The fourth is perhaps a bit unexpected, but the report includes some interesting data around this topic, including people who report that volunteering helps them cope with a chronic illness and/or helps them take their minds off their own problems. Survey respondents who volunteer scored better than those that don’t on nine well-established measures of emotional well-being.

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Eileen Cunniffe

Two Takes on the Business Case for Strategic Corporate Philanthropy

Posted by Eileen Cunniffe, Oct 15, 2013


Eileen Cunniffe

Eileen Cunniffe Eileen Cunniffe

Two recent articles make the case for strategic corporate philanthropy. And while the authors come at the topic from different angles, they agree that when corporate foundation or corporate social responsibility leaders align programs with causes that matter to their businesses, the investments yield many types of dividends.

Christine Park, president of the New York Life Foundation, offers the example of the impact her organization has had in addressing childhood bereavement. She notes that while as many as one in seven Americans loses a parent or sibling before age 20, grieving children are a surprisingly overlooked group. Since New York Life deals with families in times of grief, this cause resonates with people throughout the organization. As she explains, “…we practice advocacy with a lower-case ‘a’—with a focus on raising awareness, education, and public concern for issues where there is a clear and compelling need and little rational dispute as to the merits of the issue.”

Since adopting the “under-attended-to issue” of grieving children, the foundation has been able not only to invest resources (more than $13 million since 2007) in supporting grieving children, they’ve also been able to shine a bright spotlight on the topic and shape the national conversation about the needs of these children. They’ve forged strong partnerships with a number of leading nonprofits in the field, such as the Moyer Foundation and the National Center for School Crisis and Bereavement, and fostered alliances across nonprofits in this category.

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Jon Spayde

Art and Business Connect at a "Pop-Up Think Tank" (from The pARTnership Movement)

Posted by Jon Spayde, Sep 26, 2013


Jon Spayde

jonspayde Jon Spayde

I like to call them "pop-up think tanks" - informal gatherings to discuss serious topics in innovative ways and from unstodgy new perspectives.  They're all over the Twin Cities, from the lively gatherings organized by our friends at Works Progress and the Ignite Minneapolis talks to Tane Danger's Theater of Public Policy and the new Twin Cities branch of the international House of Genius project.  They're inspired, I think, by a widespread sense that meeting and talking in the same old ways to the same old folks is getting us nowhere in an era of proliferating problems and sclerotic institutions.

I had the pleasure of taking part in a new one just last week.

A year and a half ago I wrote a short piece for The Line about my visit to a remarkable institution in Omaha, Nebraska, called KANEKO. Named for its founder, Japanese-born and Omaha-based sculptor and international art-star Jun Kaneko, it’s a space where artists, creativity consultants, businesspeople, performers, and scientists come together to explore creativity across the boundaries of disciplines via talks, performances, and free-form discussions.

After the piece ran, I got a call out of the blue from a dynamic woman named Katy Gaynor, a fundraiser, development consultant, and arts advocate here in the Twin Cities who had read the piece. Among the many things Katy and I discovered we had in common was an interest in fostering creativity and helping artists bring their skill-sets to bear on other areas of life, like business. Katy told me that she wished the Twin Cities had its own version of KANEKO.

Plans for a Dialogue

In the months since that conversation, Katy has been busy making her hopes real by putting together a team of sharp colleagues to organize what the group dubbed the “Art and Business Dialogue X-Change,” a large invited gathering of some of our community’s most prominent artists, business people, and artist-businesspeople to talk about how the arts and business could break down barriers that separate them.

It took place last Thursday, July 25, in the beautiful conference room of the McKnight Foundation, and it attracted local A-listers like Gülgün Kayim, Director of Arts, Culture, and Creative Economy for the City of Minneapolis; public artist Ta-Coumba Aiken; and actor and Jeune Lune alumnus Steve Epp, to name just three of the fifty or so distinguished attendees.

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John Bryan

Art-Making by Corporate Executives (from The pARTnership Movement)

Posted by John Bryan, Sep 19, 2013


John Bryan

John Bryan John Bryan

How many of Richmond’s corporate executives make art in their spare time? What percentage paint landscapes or play in a band or write poetry? Are their artistic pursuits of any real value to their companies? Does the fact that a corporate executive creates sculpture affect the bottom line of that corporation? A new survey of 271 Richmond, VA executives offers some answers.

First the context. The 2004 publication of Richard Florida’s The Rise of the Creative Class ushered in a pervasive corporate understanding of the value of “creativity” to corporate success – to a company’s bottom line. Creativity has become an essential theme in corporate strategy sessions, team-building exercises, and leadership training.

But there is an ingredient that is sometimes absent from conversations and research concerning creativity in the corporate workplace: art-making. While the corporate world values “creativity” as an important attribute for its executives to have, “art maker” may not be considered as a similarly important attribute. But while creativity is an attribute that is subjective and hard to identify, art maker is an objective attribute that is easily identified.

During the first half of 2013 CultureWorks administered a two-question survey that was completed by 271 Richmond corporate executives including some of the region’s topmost executives, members of the Greater Richmond Chamber, members of Rotary, and members of the Richmond Association for Business Economics.

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Harlan Brownlee

The Kansas City Chiefs Tackle the World of Art

Posted by Harlan Brownlee, Sep 12, 2013


Harlan Brownlee

Harlan Brownlee Harlan Brownlee

Recently, I attended the opening of the Kansas City Chiefs’ new art installation at Arrowhead Stadium.  Initiated by Sharron Hunt,  and developed with assistance from local experts Jacqueline Chanda, President of the Kansas City Art Institute; Barbara O’Brien, Director of Kemper Museum of Contemporary Art, Julián Zugazagoitia, Director and CEO, Nelson-Atkins Museum of Art; and the Sherry Leedy and Dolphin Galleries, the collection features eleven works by regional artists.  As an arts enthusiast, I was pleased to see the Chiefs’ send a clear signal to the community that they value the arts as an important cultural amenity.

Most people would agree that having a sports team, like the Chiefs, is important to our region and the same is true of the arts. Everybody benefits from the vibrancy of our arts scene, regardless of their level of participation.  And kudos to the KC Chiefs’ for selecting fine art pieces by artists with roots in the region and national reputations. Our region has many accomplished artists and I am so pleased to see them getting the attention they deserve. 

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John Bryan

Five Strategies for Arts-Business Relationships (From the pARTnership Movement)

Posted by John Bryan, Sep 05, 2013


John Bryan

John Bryan John Bryan

CultureWorks is the privately-funded nonprofit organization that serves as the local arts agency for Richmond, Virginia. Although it is only the nation’s 43rd largest city, Richmond has a significant business community as evidenced by it being the headquarters for 11 Fortune 1000 companies – 6 of which are F500s.

Five ongoing strategies have helped CultureWorks engage good relationships between Richmond’s arts and business communities:

1) CultureWorks is an active member of the Greater Richmond Chamber. “Active” includes volunteering for committees, paying to be part of the annual 3-day InterCity Visit, and attending Chamber gatherings – all of which help to establish and strengthen personal relationships.

2) CultureWorks publishes reports on its activities and accomplishments and makes sure that business leaders read the reports with interest. I snail-mail a hardcopy of each report to several dozen business leaders, and I attach a hand-written personalized sticky note that has a message such as, “Frank – Good to see you last week. I’ve highlighted a couple of things on this report that you might find interesting.” It’s a lot of work preparing 50 or more of these letters, but the personalized notes cause this to be a communication that the business leaders do read.

3) CultureWorks invites business leaders to volunteer isolated segments of their time to serve on short-term project-specific committees and task teams. Examples include the review panels for the CultureWorks Grants Program and our metrics task team. This not only builds relationships, but also gives the corporate participants a first-hand look at the value of the arts.

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Ms. Janet T. Langsam

Small Business Rocks (from The pARTnership Movement)

Posted by Ms. Janet T. Langsam, Aug 29, 2013


Ms. Janet T. Langsam

Warren Buffet had it right when he committed to giving away more than half his money to charity. “If you’re in the luckiest one percent of humanity, you owe it to the rest of humanity to think about the other 99 percent.” And, indeed, 86% of the $316 billion giving reported in 2012, is by individuals, says Giving USA, an arm of Indiana University. Buffett’s motivation seems to be about social justice, but it is also about social good. He appears to be a guy who believes in creating opportunity for others and in doing so, fuels ideas, innovations, and projects that ultimately have an economic impact on society.

In a new book, entitled “Why Philanthropy Matters,” Zoltan J. Acs advocates that the benefit of philanthropy is that it nurtures innovation and entrepreneurship which is essential for prosperity. I thought about this connection between entrepreneurship and philanthropy as I pondered a new national study put out by Americans for the Arts in which some 600 corporations of all sizes were surveyed. Bearing in mind that corporate funds are only 6% of the total giving pie, on the bright side, the survey reports that corporate giving to the arts from 2009 through 2012 is up by 18% - reversing some, but certainly not all, of the losses during the height of the recession. That is heartening.

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Bruce Whitacre

Theatre Arts Education Programs Create Innovative Thinkers and Workers (from The pARTnership Movement)

Posted by Bruce Whitacre, Aug 15, 2013


Bruce Whitacre

Bruce Whitacre Bruce Whitacre

A little over a year ago, National Corporate Theatre Fund (NCTF) announced the launch of Impact Creativity, a three-year, $5 million effort to secure the funding of education programs at our 19 theatres. Together, these theatres serve over 500,000 K-12 children and youth, with the large number of students experiencing the student matinée programs. We were very grateful to Ernst and Young for their contribution in 2012 that got the ball rolling.

Now, we are focusing our efforts on the world of innovation and creativity going on at our theatres. Seattle Rep Theatre is helping teachers better utilize arts techniques to enliven the classroom. Actors Theatre of Louisville is engaging students in classrooms through a Living Newspaper playwriting program. The Goodman Theatre is teaching STEM skills through a study of theatre magic found in their production of A Christmas Carol. Altogether, we identified 19 innovative projects and began asking our funding partners to help theatres sustain this creative burst through what we call our Impact Creativity Innovation Program.

These include programs designed for an array of children with different and sometimes challenging circumstances: Trinity Rep Active Imagination Network (TRAIN) in Providence engages children in the autism spectrum; Walnut Street Theatre in Philadelphia engages kids with plays that address diversity, civil rights and bullying, among other subjects; and American Conservatory Theater in San Francisco and Manhattan Theatre Club in New York are working with youth caught up in the criminal justice and school discipline systems. For a complete list of the programs, click here.

Happily, by the close of our fiscal year in June, several individuals, foundations and companies were as impressed with these programs as we were. Individual donors and family foundations joined us in sustaining these innovation programs. And the Hearst Foundations, one of the few national foundations active in the arts, provided a $100,000 grant for these programs. We have not met the full cost - total budgets for these projects in 2013-14 are nearly $1 million - but we are on our way.

As we continue to pursue support for these programs, a few things are becoming more and more clear. First, arts education supporters face unprecedented challenges. We have been around a long time and the field is very competitive. Years of advocacy can create a kind of fatigue around the issue. Schools and families, especially in disadvantaged neighborhoods, are more challenged than ever to engage. And that is not just for financial reasons. Rapidly changing school leadership, family instability and the challenge of sustaining the service to those who would most benefit from it affect arts education as they do all subjects. More problematic, research in the field is needed to document what is virtually universally known on an anecdotal basis: theatre education changes lives.

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Ms. Laura Bruney

Books and Books: A Creative Business That Supports the Arts (from The Partnership Movement)

Posted by Ms. Laura Bruney, Aug 08, 2013


Ms. Laura Bruney

Mitchell Kaplan, owner of Books & Books Mitchell Kaplan, owner of Books & Books

Miami native Mitchell Kaplan sits surrounded by books.  In a time when the number of independent booksellers dropped from over 6,000 to just under 2,000, Kaplan has successfully built an arts and business hybrid that is Books & Books. His establishment is a success story, thanks in part to his relationships with the authors that create the books he sells and to the community.  Thirty-two years ago, Kaplan had a vision to create a place to congregate outside of work and the home.  He wanted an environment where people could meet, relax, share knowledge while celebrating the local literary and cultural community.

In 1983 he helped establish the internationally recognized Miami International Book Fair. He and several other community leaders got the call from Miami Dade College President, Eduardo Padron, to create a community-wide book event that would bring a larger audience to the Wolfson campus. From the start it celebrated writers and readers and has grown into one of the top festivals in the country, a week-long celebration of all things literary. The event includes author readings, showcase events, and children’s activities. As co-founder of the fair, Kaplan has served on the board for over 30 years and helped develop the Florida Center for the Literary Arts. Today, Books & Books hosts over 700 literary events each year in Miami. Kaplan’s team is also actively involved in bringing nearly 400 artists to the Miami International Book Fair. In addition, his stores host unique events with dozens of arts groups and artists each year.

We sat down with Mitchell Kaplan to talk about his unique experiences working as both a small business owner and supporter of our local cultural community.

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Dr. Marilyn P. Wolf-Ragatz

Arts Integral to Community Success (from The Partnership Movement)

Posted by Dr. Marilyn P. Wolf-Ragatz, Aug 01, 2013


Dr. Marilyn P. Wolf-Ragatz

The Athens Cultural Affairs Commission (ACAC), which advises Athens-Clarke County’s mayor and commission on cultural affairs and aesthetic development, has launched a ACAC_symbol_text_RGB_smallnew partnership with the Athens Area Chamber of Commerce.

Since its conception two years ago, ACAC has been busy developing new procedures, starting and completing new public art installations, and considering the many opportunities and possibilities for growth and support of the arts. In that time, the work and responsibilities of ACAC have grown rapidly. This growth produced two critical needs: staff assistance and visible, accessible office space.

Thanks to the help of the county government and county commissioners, and to Athens Area Chamber of Commerce President Doc Eldridge’s vision to bring an arts component to the chamber family, ACAC now has a place to hang its hat.

We are all aware that developing collegial relationships results in better outcomes. The opportunity has now been created for the organizations housed at the Chamber office to continue sharing, discussing, and collaborating on projects with the added perspectives and contributions of the arts. What makes this new partnership especially exciting is the fact that the arts fit so well with the chamber’s mission to help its members and the community grow and prosper.

I recently attended a public art conference in Pittsburgh as part of the Americans for the Arts National Conference. Americans for the Arts and businesses across the United States came together to create the pARTnership Movement, a resource for educating and connecting businesses and arts organizations. Their purpose is to provide opportunities, information, and resources to achieve the greatest level of benefit for both.

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Scotland Davis

Arts & Business Partnerships Beyond Mere Aesthetics (from The pARTnership Movement)

Posted by Scotland Davis, Feb 14, 2013


Scotland Davis

A dramatic impression greets Conference Board visitors at reception with the bold and expressive colors of Yuko Ueda’s “The Trees #14.” A dramatic impression greets Conference Board visitors at reception with the bold and expressive colors of Yuko Ueda’s “The Trees #14.”

 

When I was asked—strike that—begged, to sit on our in-house committee to renovate our offices, it was explained that someone was needed to bring my department’s voice to the designing table. And knowing to play to my vanity, I was told, “Your artistic eye is sorely needed.” Yet even so, I reluctantly agreed. “Besides,” it was confidentially promised, “the weekly meetings would only last for about six months.” That was 19 months ago... Once on the committee, I was assigned to the subcommittee affectionately called, “Look & Feel.”  Then, while on this subcommittee, I was volunteered to a yet smaller sub-subcommittee called simply, “Artwork.” Including myself, this sub-subcommittee numbered one! So I in turn volunteered two others to help me out. We were asked to, “Put some art on the walls...” The request was later improved upon: “Some original art work…Not too expensive.” I knew enough to ask the obvious question, “What’s the budget?” The answer: “Present us with some figures.” Okay, I could do that. In fact, I was surprised with how many artists and gallery owners I knew. Pieces started in the low hundreds and went into the six figures. I felt pleased my work was completed so early and speedily. Little would I realize that when I turned these figures over to the larger committee, you would hear crickets in the room. I was thanked for my efforts and invited to try again. 

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Allison Skeete

Mentoring & the Multicultural Arts Management Internship Program (from The pARTnership Movement)

Posted by Allison Skeete, Jan 17, 2013


Allison Skeete

Allison Skeete

 

Throughout my life there have been people I admired and looked up to. I realized the value and impact of having mentors in my life when I spent a summer working for a charitable group as a camp counselor for challenged teens. I learned as much from them as they did me and what I felt and shared that summer left me with a lasting impression. From that point forward, I decided that I’d have to support and or mentor someone in the future. It has now been more than 20 years that I’ve been a mentor in some way in many programs to young women and men within the communities where I’ve worked, played, and lived. Seven years ago, when I was asked to be a mentor in the multicultural summer program hosted by the Arts & Business Council of NY, I didn’t hesitate to respond 'yes!' I believe as a mentor I have an important role in assisting the mentee to learn how to manage priorities and perspectives. I firmly believe everyone has natural gift they can share with others. To share knowledge, wisdom, and understanding is a gift. Helping others to achieve their goals and dreams can impact not only the lives of those who are being mentored, but the lives of everyone they touch. For me, helping others reach their potential is fulfilling in ways I can’t begin to explain. The Multicultural Arts Management Internship program (sponsored by my employer conEdison) promotes diversity in administrative staffing, introducing undergraduates to career options with a business focus in the arts. Each year, a select group of students (the program places emphasis on students of African-American, Asian-American, and Latino backgrounds), who are matched with New York City arts organizations to complete summer-long, project-based internships in a variety of disciplines.

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John Bryan

Do Business Executives Believe Artistic Pursuits Add Value to Their Work? (from The pARTnership Movement)

Posted by John Bryan, Jan 24, 2013


John Bryan

John Bryan John Bryan

 

Richard Florida’s The Rise of the Creative Class is now 11 years old, and the notion that left-brained corporate types can benefit from right-brained creative types is acknowledged as gospel. Although Florida’s work has resulted in blue-chip value for “creative thinkers,” there is no empirical evidence to show whether business executives claim any workplace value for their own personal artistic pursuits. Indeed, do the personal artistic pursuits of business workers add value to the corporate workplace? The exploration of this question is one line of research that has been spawned by a recent gathering in Virginia. On November 27 in Richmond President and CEO of The Conference Board Jonathan Spector and Americans for the Arts President and CEO Robert Lynch convened 16 corporate executives and 16 artists for an eight-hour “Creative Conversation”—a day of envisioning a new transaction model between business and arts. The forever-held model is straightforward: businesses give money to the arts so that the arts can enrich their communities. Richmond’s event explored the possibility of an opposite transaction model. Can corporations benefit by reaching out to and engaging practicing artists? Participants included executives from Fortune 500 companies such as Altria, Dominion, and MeadWestvaco; leaders from service organizations such as J. Sergeant Reynolds Community College and Leadership Metro Richmond; and CEOs from specialty companies such as The Martin Agency and Richmond Times-Dispatch.

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Tim Leberecht

What Innovators Can Learn from Artists (from The pARTnership Movement)

Posted by Tim Leberecht, Jan 31, 2013


Tim Leberecht

Tim Leberecht Tim Leberecht

 

Andy Warhol knew it all along: “Good business is the best art.” And lately, a number of business thinkers and leaders have begun to embrace the arts, not as an escapist notion, a parallel world after office hours, or a creative asset, but as an integral part of the human enterprise that ought to be woven into the fabric of every business—from the management team to operations to customer service. John Maeda, the president of the Rhode Island School of Design (RISD) and author of the book Redesigning Leadership, predicts that artists will emerge as the new business leaders and cites RISD graduates Joe Gebbia and Brian Chesky, co-founders of Airbnb, as prominent examples. The author William Deresiewicz heralds reading as the most important task of any leader. John Coleman makes a compelling case for the role of poetry in business. Intel named pop musician will.i.am as director of creative innovation. And the World Economic Forum has been inviting arts and cultural leaders to its events for several years and this year added the ‘Role of the Arts’ to its Network of Global Agenda Councils. Indeed, the “art” of business becomes ever more important as the “science” gets ever more ubiquitous. Against the backdrop of our hyper-connected economies and as Big Data and sophisticated analytical tools allow us to maximize process efficiencies and standardize best innovation practices worldwide, intuition and creativity remain as the only differentiating factors that enable truly game-changing innovations. Like any “soft asset,” they cannot be exploited, only explored. And like artists, innovators must develop a mindset and cultivate creative habits in order to see the world afresh and create something new. How do artists think and behave? Here are twelve traits any individual aspires to make his or her mark on the world would do well to emulate: 

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Shannon Litzenberger

Creative Partnerships: Strategies for Collaboration (from The pARTnership Movement)

Posted by Shannon Litzenberger, Feb 07, 2013


Shannon Litzenberger

Shannon Litzenberger Shannon Litzenberger

 

A new generation of arts development calls for new conversations about how to engage stakeholders and cultivate resources to support artistic activity. It’s clear that as public investment dwindles relative to industry growth, the future success of arts enterprises will include seeking new creative partners in the private sector by building relationships based on shared values and mutual goals. Exploring national and international models of partnership, collaboration, and investment across the arts and business sectors formed the basis of a day-long symposium held late last year in Toronto. Creative Partnerships: Connecting Business and the Arts brought together 100 leaders from across the arts, business, and public sectors to consider how we can build new capacities within our respective industries through creative collaboration. Hosted jointly by the Metcalf Foundation, Business for the Arts, the ASO Learning Network, the Manulife Centre, and the Canada Council for the Arts, Creative Partnership brought into focus a host of examples and opportunities aimed at increasing private sector engagement in the arts. One of the day’s early highlights was a report on the performance of Canada’s new and quickly expanding program artsVest™. A flagship initiative at Business for the Arts, artsVest aims to help broker new relationships between arts organizations and business sponsors. With invested funds from the federal government, as well as participating provincial and city partners, the national initiative provides matching grants, free sponsorship training workshops, as well as community building and networking events that catalyze cross-sector partnerships.

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