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Key Elements of the Infrastructure
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Data Analysis Highlights — Focus Group Findings
The following are some themes that emerged from the focus group discussions.
The people who manage small arts organizations are teachers, professors, artists, homemakers, bankers, social workers, scientists and retired professionals. Few work full-time and most do not receive adequate compensation for their efforts. They are diverse in their professional backgrounds, but share the common goal of connecting to their communities through the arts. Individuals associated with small arts organizations are well connected to the artists and arts organizations in their locale.
They know how to operate an arts organization regardless of budget size, staff or resources. Many have yet to establish nonprofit status and they turn to host organizations for fiscal purposes. Small arts organizations are rarely concerned with expanding their organizations. They tend to specialize, rather than diversify, programming. Some concentrate on a particular season of programs, while others focus on a particular concert, exhibition or festival. The life spans of these organizations vary from two to 90 years.
These organizations spend much of their efforts building an audience. They compete with similar organizations and larger institutions for audience interest and face barriers such as the availability of performance space and limited staff. Many feel the initial interest in their organization diminishes over time. "It's like fireworks," said one small arts organization representative. "When we do something, it goes up and everybody says 'Ohh,' but then it falls to the ground. It seems like we're starting over and over, again and again."
Small arts organizations creatively structure their boards with equal number of artists and business people. This allows for the consideration of artistic risks, but also a check towards budget and other sound business concerns. Board members, staff and volunteers often rely on their place of full-time employment for resources and possible partnerships, especially those that work in schools and universities.
They partner with schools, other arts and cultural institutions, universities, churches, civic clubs, businesses, senior groups and government, often to supplement or subsidize limited resources. Many of these organizations would not be able to function without support in the form of building space, performance and exhibition spaces, fiscal agent services and administrative assistance. However, not all collaborations are to supplement scarce resources. Many partnerships, such as educational activities, developing new works of art, supporting emerging artists and assisting the financing of big-ticket events, further the missions of both the small arts organization and the partner. Educational partnerships involve working with schools to arrange workshops, performances and exhibitions.
Small arts organizations generally relate well with artists and feel they provide opportunities for artists that are not found in larger arts organizations. They often find it difficult to locate artists and rely on word-of-mouth to generate artists' interest. They struggle with the balance between compensating artists and setting affordable ticket prices. Small arts organizations understand the need to document their organizational procedures to ensure longevity, a subject of much concern. They focus on financial stability, burnout of volunteers and finding dedicated employees. Most small arts organizations expect their organizations to exist far into the future, but they would like to see more stability in the form of a building or performance space or in the form of a true presence within their community.
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