Organisations rarely take a step back and look critically at the most senior leadership team — the board and its chief executive — and the value they can add or the potential they have for crippling the organisation.
For the most part, the responsibilities of these two positions can be formally separated and clearly differentiated. The board and the chief executive should be a team with complementary skills, committed to a common purpose and approach for which they hold themselves accountable.
Unlike a recently published McKinsey study, I will not recommend the obvious, that nonprofit executives concentrate on high-level donors or use the Internet for fundraising. Nor will I insult museum managers by suggesting that they may solve their organization’s problems by being more efficient or working smarter. I believe the solutions are not simple and tactical, but rather require broader strategic actions.
This paper covers four areas:
- The current situation in American art museums;
- Some of the consequences, actual and inherent, that are the results of this situation;
- A series of recommendations on how to insure that museums emerge healthier and stronger;
- And finally, with the reader’s indulgence, my views about the long-term situation museums are likely to face, even after they have weathered this crisis.
The consultation by the Scottish Arts Council could also see people being asked to leave their opinions in video diary booths.
Graham Berry, the director of the SAC, which distributes around £60m in funding a year, is to launch the forums as another stage in his reorganisation of the quango, which is on the verge of a major review of its form and function by the executive and Frank McAveety, the new arts minister.
Mr Berry said the forums would inform the SAC what the general public wants from the arts, what its interests and concerns are - as well as letting the public know the SAC is interested in its views....
The base funding increase for 2003/04 is $7.5 million, with another $7.5 million increase to base funding in 2004/05.
"The Eves government is committed to strengthening the arts community with new jobs, especially in culturally diverse communities where the province is experiencing significant population increases," said Tsubouchi. "Today's $15 million base funding increase is a substantial investment by the Ernie Eves government which will provide the resources needed to rejuvenate arts and culture in Ontario."
However, as Eva Johansson relates in the May issue of International Arts Manager, the arts communities in Asia have been hit even more seriously. In Taiwan, a ten-day contemporary music festival was cancelled after its organizers learned that one group scheduled to perform had travelled on the same plane as someone who was infected with SARS. In Beijing, all theatres and public venues were closed in an effort to contain the spread. Prior to that, the Third International Beijing Piano Competition was cancelled and tours by the Royal Winnipeg Ballet and the BBC Scottish Symphony Orchestra were called off. In Hong Kong, many visiting artists and groups decided not to come, forcing the cancellation of many events by the Hong Kong Chinese Orchestra and the Hong Kong Philharmonic.
At concerts that did to on, ushers and audiences alike wore face masks and according to the Hong Kong Sinfonietta's chief executive, at a concert in late March "nobody coughed during a whole movement."
In Japan, performances by Chinese artists have been cancelled and Singapore's Asian Arts Mart has taken many health precautions to encourage attendance. Among the precautions are health declaration forms for delegates, daily temperature checks and certification by a doctor for anyone who appears unwell that the do not have SARS.
It is too soon to determine what the economic impact to arts organizations will be in any of the countries affected. But for arts organizations everywhere that are chronically short of funds, it is certain to be significant.
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The Center's experience with its Cultural Policy Network and its Cultural Policy Listserv has illuminated a continuing communications divide between researchers and practitioners. The Cultural Commons is designed as a web space through which different kinds of information and data can be sorted and accessed: news, events, opportunities within the field, and research.