Does Size Matter in the Arts?

One of the frustrating responses I receive to my "Arts in Crisis" presentations is that my recipe for success only works for large organizations in big cities.

I could not disagree more. I believe that planning far in advance is more important for smaller organizations than larger ones. Smaller organizations have a harder time developing the large transformational projects than larger organizations. That is why they tend to remain small. If they take the time to plan large, exciting programs four or five years in advance, they would be far more likely to find the resources they require to mount these programs. This would allow them to build visibility in the community, attract stronger board members, and increase their ability to generate resources. Planning should not be left to the larger groups.

And institutional marketing is also more important for smaller groups since they tend to be less well known, their programmatic marketing campaigns are smaller, and their projects tend to be of smaller scale.

The challenge is to determine which assets the organization possesses that can help build reputation. Is it a major production planned for the future? Access to important artists or politicians who might participate in events? A rich history that deserves a museum or library exhibition? An invitation to perform at an important festival? An opportunity to participate in a highly visible special event? A major announcement of a new program or grant? A special anniversary that can be celebrated?

The list of possibilities is endless.

It is up to the creative manager to use these assets to create a visibility campaign for the organization. No single special event or announcement will build institutional image enough to make a difference. All good marketing requires repeated 'hits' with a given message. A small or mid-size organization should be making news at least once a quarter; larger organizations need many more exposures a year.

The small organization may not get on a national television show, but the number of people it must influence is fewer than for a big organization. In fact, most arts organizations must really only influence 100-200 selected people in their communities to have a life-changing effect on the organization. Making a list of these individuals and working aggressively to influence them is more important than appearing on late night television!

There are many smaller, regional organizations that have created great art and visibility and give testimony to the power of programming planning and institutional marketing in smaller markets.

Perhaps my favorite example is Glimmerglass Opera in Cooperstown, New York that produces very well-regarded opera performances in an opera house built in a town of fewer than 3,000 residents. People travel from far and wide to attend performances at Glimmerglass. The organization does not shy away from difficult operas or unusual interpretations.

If Glimmerglass Opera can build an international reputation for excellence, your organization can too, no matter where it is or the size of its budget. Begin to plan your art farther in advance and take time to find the resources needed for projects that will energize your audience and donor base. And initiate an institutional marketing effort that encourages new people to enter your organizational family.

Size doesn't matter in the arts.

 

Comments

[Marco Eneidi]

01:25 PM on 06/17/2010

I have been living in Vienna Austria since November of 2004 and in September of 2005 I formed a collective / workshop / organization called the Neu New York/Vienna Institute of Improvised Music of which I am Artistic Director. We meet and perform every Monday night the entire year without any funding so far, which will hopefully change, and we continue to grow and have become a fairly important happening in the community.
www.nenuvi.org

[Peterell]

09:39 AM on 06/15/2010

While I often agree with Mr. Kaiser, I believe he misses the mark on this one. Though I run one of the more successful rural arts organizations in the nation, it is a constant struggle to keep the doors open and provide programming. Since foundations fund rural areas at one-third the national per-capita average, and corporations fund at one-ninth the per capita average, rural organizations are far more reliant on Government grants, private donations and earned income. Since rural areas tend to have far lower income levels, ticket prices are much lower affecting earned income percentages, and due to the lack of industry in these areas there are far fewer big donors. Despite high percentage of participation from the local public at successful rural arts organizations, there is not the same amount of contributed income that this kind of participation would create in an urban area with higher income levels. Finally, top quality artists and artisans don't take pay cuts when they come to work in other areas because their expenses don't change where they actually live. I applaud Glimmerglass' success, they deserve it. But they are an anomaly in the field due, certainly to their quality and fine management, but also due to unique circumstances that can't simply be re-created by other organizations. Small arts orgs are often run by very smart people with much expertise, but that doesn't make up for lack of available resources or under-funding from foundations and corporations.

[JBiegel]

04:52 PM on 06/14/2010

I couldn't agree more. I have found in my 25 years as a soloist, that many conductors of regional orchestras tend to see a 4-5 years vision plan. They often take in new works, in the form of commissioned works, which helps put their orchestra on the regional map, which can help them apply to fund special projects during the 5-year plan. Mr. Kaiser's vision helps smaller orchestras build confidence in their community, and, with such a plan, minor details can be worked out more easily, rather than waiting for them to become major problems.

[uboat88]

04:33 PM on 06/14/2010

I couldn't agree more! I would always plan a at least a year to 18 months out for a play. It's exciting to have people interested months before auditions; even more so when they showed up! Unfortunately, the rest of the group could/would never do that, thus the best marketing tool for your show -- which is the show(s) before yours -- was never utilized to its fullest potential. Yet, somehow they manage to keep producing; albeit, small shows that are safely within everyone's comfort zone.