Those Daring Leaders Of Non Profits

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A nod to our friends at the Non-Profit Law blog for noting that CompassPoint Non Profit Services and the Myer Foundation who teamed up three years ago to bring us the report I blogged on, Ready to Lead, studying trends in emerging leadership of non-profits, has come out with a new Daring To Lead, studying the status of non-profit executive directors.

The last time they studied this topic was 6 years ago, before the recession. Their new findings are worrisome in terms of the lack of succession planning but encouraging in respect to the amount of enthusiasm and lack of burn out the majority of executive directors feel in the face of the recession. Their three main findings deal with those topics: succession, the recession and executive director morale.

Finding 1
“Though slowed by the recession, projected rates of executive turnover remain high and many boards of directors are under-prepared to select and support new leaders.”

Due to the recession impacting their retirement plans, fewer executive directors left their positions than planned. A small percentage (9%) of respondents cited the lack of an appropriate successor as a reason for remaining. So while there hasn’t been as large an exodus as was once feared, little has been done to prepare for that eventuality.

“Executives and boards are still reluctant to talk proactively about succession and just 17% of organizations have a documented succession plan. Even more problematic is the extent to which many boards are unfamiliar with the dimensions of their executives’ roles and responsibilities. Just 33% of executives were very confident that their boards will hire the right successor when they leave. Performance management is a critical means of being in dialogue with an executive about success and its metrics, yet 45% of executives did not have a performance evaluation last year…Without consistent, meaningful engagement in what the job requires, many boards are under-prepared for their critical role in executive transition.”

The report also cites some numbers which indicate a series of mishires by boards and unclear expectations by boards and executives. One of the biggest challenges executive directors face is establishing an effective partnership with boards and getting the support they need in the early years of assuming the new role.

“It appears that many boards see executive transition as ending with the hire, when in fact leaders—nearly all of whom are in the role for the first time—need intentional support and development as they build efficacy in the executive role.”

Finding 2
The recession has amplified the chronic financial instability of many organizations, causing heightened anxiety and increased frustration with unsustainable financial models.

Hardly a surprise that many non-profit leaders are worried about whether their organization will continue to exist in these difficult economic times. Many executive directors reported having less than 3 months of cash reserves. According to the report, the common guideline is to have between 3 and 6 months. Many first year leaders are faced with the most daunting of situations.

“Thirty-two percent (32%) of executives in their first year on the job have less than one month of operating reserves; in other words, those on the steepest part of the learning curve often have the smallest margin for error.”

It it any wonder than that a listening tour by Building Movement in 2004 found a lot of prospective leaders in the next generation, while chomping for greater responsibility in their organizations, were reluctant to assume the executive position. (My post on their report here)

Finding 3
Despite the profound challenges of the role, nonprofit executives remain energized and resolved.

The very encouraging news in the face of all this.

“Forty-five percent (45%) reported being very happy in their jobs, and another 46% reported that they have more good days than bad in the role. Levels of burnout, especially given the economic climate, were low; 67% of leaders reported little or no burnout at all. In fact, leaders distinguished between burnout, which they associated with disengagement and ultimately leaving the job, and the realities of fatigue and elusive boundaries between their work and personal lives that go with the job. Forty-seven percent (47%) of executives reported having the work-life balance that’s right for them, while a significant minority (39%) said they did not.”

One of the biggest challenges executive directors reported they faced was human resource management. Attracting people, retaining them once they were trained and had skills to find better work and motivating those that stick around toward a unified organizational goal comprise a tough task for these leaders. There seemed to be a loose process of delegation and sharing of responsibility that didn’t approach formal mentoring.

“And a large majority (81%) reported having someone on staff that they trusted to make important organizational decisions without consulting them. Explicit executive mentoring of other staff was a relatively infrequent practice, with 31% of executives reporting being in an explicit mentoring relationship.”

The leaders themselves eke out a rough system of acquiring leadership training/mentoring/coaching/peer networking to improve their own skills.

Few executive leaders spend significant time interacting with boards of directors. 55% responded as spending less than 10 hours a month on board related activities which is at best 6% of their time. According to the report, other studies have found that executive directors who spend 20% of their time on board related activities are most satisfied. Most of those responding to the Daring to Lead survey were dissatisfied with their board relations.

As succession planning has been one of my favorite topics, you know I am going to suggest people should read the results. It is only 20 pages long. They make suggestions at the end about how to improve the overall situation. The general thrust of their advice is clear before you reach it–basically boards need to do a better job of succession planning and find ways to support and engage with the executive director more frequently and effectively.

One area that isn’t really covered in the body of the report but that is mentioned in the calls to action at the end is for funders to recognize the role they play in perpetuating the current situation and how their initiatives can move things in a more constructive direction.

Can You Buy At The Price You Are Selling?

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I often have arts professionals in their late 30s-early 40s ask me for comp tickets or ask me to request comps on their behalf at another performance space. Their whole decision to attend is based on whether they can get the comps. Since the ticket prices have been in the $10-$30 range and some of these people have stable incomes, on a couple occasions I have opined that this sort of request is to be expected when you are a poor college student, but didn’t they think that at this stage in their career and level of success it wasn’t time to start paying for tickets and free up those comps for starving college students.

This post isn’t about deadbeat mid-career artists who should have long ago started attending shows to support the arts and not because they get comps. As fun as ranting on the subject might be, I am pretty much done now.

I started with that little gripe to catch attention and segue into my real topic of wondering how many artists actually can’t afford to attend/buy the sort of art for which they are being paid. The thought occurred to me as I was wandering through the galleries of the Metropolitan Museum of Art and Philadelphia Museum of Art and I saw a couple notations about some of the artists owning pieces by other notable artists. I wondered if that were still the case. More to the point, are artists, who sell one of their pieces for a certain price, buying the works of other artists at comparable prices. If not, is it because of an unwillingness to do so or because they can not afford to do so.

Following the latter train of thought, it isn’t news that people in the arts don’t get paid very well–especially those producing the art. (Drew McManus’ recent Compensation Reports illustrate this for orchestras.) I am sure some people are eager to liken artists to third world sweatshop workers who could never afford to buy the clothing they make, but I am pretty sure things aren’t that bad. Many performing artists can probably afford to see a couple shows at the level people are paying to see them perform, but perhaps not as many as they might like or would be helpful toward advancing their craft.

I have no idea where visual artists stand in this regard. My guess is that for the time it takes to create a piece, many probably make below minimum wage and have many mundane bills to pay before they can think about acquiring works of their own. But honestly, I have no idea about the art acquisition statistics for visual artists. Does anyone have any insight or links to research on this matter?

Actually, while I am thinking about it… I have seen a lot of surveys being done about engaging audiences, marketing to audiences, measuring how involved the general public is in the arts (and the need to redefine what activities count as engagement), and even the SNAAP survey which tracks the “lives and careers of arts graduates.” But as far as I know, no one has really surveyed artists to see how involved they are in attending/purchasing the work of others.

I think it would be especially interesting to see the results in terms of cross-disciplines– how often do theatre people attendance dance, how often to dancers go to museums, how often do sculptors go to the symphony? I would also be interested to find out if that changes as a person gets older and advanced in their careers. Do arts people only go to see stuff from other disciplines when they are young and poor and their friends are doing a thing in an abandoned warehouse or do they continue throughout their lives and consume a wider variety?

There would probably be elements of the results that were satisfying as well as some that were depressing. In any case, they could be used to mobilize action. At the last National Performing Arts Convention, people had so many ideas about what to do but were paralyzed about how to do it. Maybe the first, best and simplest step would be to look at the results of a cross-discipline survey mobilize a grassroots support effort by either saying, “Hey, you guys don’t support each other enough in your communities, get out there and see stuff,” or “You guys are really supportive of each other. Now we are are going to train you to advocate to your neighbors for your disciplines and those of your colleagues of the other disciplines. We succeed when we all stand together.”

It’s Yesterday Once More

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Tip of the hat to Don Hall (aka Angry White Guy in Chicago) for linking to the Everything Is A Remix web series, some thing of a labor of love by NY film maker Kirby Ferguson. Parts One and Two came out a while back. Part Three just came out a week ago. The last part is due out this fall.

As I have been thinking about intellectual property rights recently, the series struck a chord with me. As you might imagine, the premise of the series is that there are no original ideas. The first video makes that abundantly clear by examining music, especially that of Led Zeppelin, who didn’t make a lot of effort to change any elements of the songs they were appropriating and very little to credit the original artists either. The second video talks about movies like the Star Wars series and the Kill Bill movies and the influences they tapped.

In the third part, Ferguson starts to talk about how creativity and inspiration are based on the work of others, standing on the shoulders of giants, as Isaac Newton famously said in the 17th century. (Though Bernard of Chartres apparently referenced the metaphor in the 12th century.) His example that most startled me was noting that Xerox created a graphical interface computer with a mouse, desktop, pop up menus and other familiar features, Alto, in the 1970s. It was mostly used by Xerox and some universities and was never released for commercial use. Apple made improvements to the design and interface as well affordability and released the Lisa and Macintosh in the early 80s and that eventually morphed into the iPads people are running around with today.

There is actually a transcript and links to all the music and video Ferguson used for each video chapter, should one wish to purchase any of it.

One thing I appreciate about a lot of blogs and other online venues is that people often make an attempt to at least make a passing reference to the source of their information and the jumping off point for their posts. I feel a little bad for Xerox. Sure, they failed to really exploit the technology they developed for nearly a decade before Apple took off with the idea. Because of this their name gets lost in history if not for people like Ferguson. I am sure Apple probably would have faced a law suit if they had made a public nod in their direction.

Still, it is nice for people to acknowledge that they got their good ideas from you. The tracking data for this blog often shows people from universities reading for a long time. I often wonder if my ideas are making it into a paper–and if I am being credited. Or maybe someone just left their browser window minimized behind their chat window for a long time.

The discussion about intellectual property rights, etc is a pretty lengthy debate and even though I recently talked about the issue, I actually wanted to take another tack with this post and ask:

Are we in the arts standing on the shoulders of those who came before and moving ourselves to innovation?

Again, a subject of lengthy and long debate where the current thinking is probably leaning toward an answer in the negative.

But it strikes me that maybe things aren’t so bad as they seem. Or at least perhaps some of the steps that need to be taken may not be as intimidatingly far away as they seem. If, as Kirby Ferguson says, innovation doesn’t come mostly with a flash of divine insight but rather after an onerous road littered with failures and mistakes, then maybe it is just a matter of recognizing how the past is manifesting itself today. (Albeit probably requiring hard work and likely failures.)

I think I have mentioned before that when I was in grad school getting my MFA in Theatre Management, my class read Danny Newman’s Subscribe Now! was unworkable in current times when so much competed for people’s time and attention. He suggested having subscription parties where key people in the community would invite their friends over for tea and would help convince them to subscribe to your season.

Seems pretty difficult to replicate these days if you think about it in literal terms. But this is exactly what happens on different social media platforms and sites like Kickstarter. Key people in the community present your cause/organization to their friends and convince them to become involved. It is tougher to identify specific influential people than in the past when planning subscription parties. But for the same effort you invested in cultivating relationships with those people, you can disseminate information about your organization in a manner that convinces people to become interested and involved with your organization. They may not become as deeply invested as people did in the past, but you can potentially reach far more people than you did in the past.

I will grant that some innovation that moves past recasting the old in familiar terms will be required for the arts to successfully innovate for the future, but it doesn’t all have to be created nearly whole cloth from scratch.

(In the interests of correctly referencing things. The title of this blog is from a Carpenters song)

Info You Can Use: Social Media Tips

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In May Tech Soup hosted a series of Monday Twitter chats on the topic of Social Media. They provide a summary of the discussions on their forums. The discussions covered the use of Twitter, Facebook and Videos. Since I have read a fair bit on the use of these, I was most interested in their final discussion which covered the effective use of Tags.

I add a lot of tags to posts I make both here on the blog and connected to social media sites I use at work. I am just never sure if what I am tagging is actually effective. It seemed like being fairly generous with tags was good everywhere except Twitter.

“Blogs, photos, video, and bookmarks can benefit from the use of many tags when they are uploaded. Twitter, again, distinguishes itself, however, by favoring a “less is more”and approach to tagging. It is an accepted convention on Twitter that too many hashtags is unhelpful and, in fact, makes a tweet look too busy and difficult to read. Use tags to not only find content but to identify individuals or organizations who are creating or sharing useful information and, in the case of Twitter, to engage in actual real time conversations or tweetchats.

Individuals who are new to tagging might find themselves asking what tags are best to use for their content. For starters, it is worth considering what types of words might be used to describe your content. A helpful question to ask is, “who is this content intended for?” Understanding who your intended audience is and what terms they might use to seek out your content will help you narrow down on the most appropriate tags to use.

If you are just beginning to use tags, it is often helpful to explore and use tags on broad topics such as “nonprofit,” “art,” and so on, to reach out to a broad audience if you are not familiar with more specific tags for your content. As the article Thirteen Tips for Effective Tagging suggests, “be a lemming” and follow what others are doing which can also help you discover more specialized, niche tags.”

I found the advice at the end regarding paying close attention to what other people are using to be particularly valuable. Even if you think you know the hot buzz words from your industry, they may not be the most effective on social media. Tech Soup links to a piece, 40 Hashtags for Social Good which notes that nonprofit is a more popular tag than nonprofits. In the chat about Twitter, Janet Fouts cautions people to research the hashtag they intend to use in case someone else’s of it results in a collision of messaging.

I found the recap of the chat about Twitter to be helpful just because it can be very difficult to get your point across in the limited number of characters and I can also use more guidance. On top of that, the advice is to be as brief as possible in order to leave room for other people to comment and interact with you. Tech Soup also suggests a number of tools that allow everyone in the organization to share the burden of monitoring and creating tweets.

Your experience may vary, of course, so read whatever might be helpful.