The Indispensable Role of Strategic Planning in Enhancing Small Town Arts Organizations

Strategic planning is not merely a bureaucratic exercise—it's a vital tool that small town arts organizations can use to define their future and ensure their relevance and resilience in the community. In areas where every resource counts, strategic planning helps these organizations maximize their impact, streamline their operations, and foster deep, enduring connections with their audience.

With all this said, strategic planning can be extremely difficult for small organizations in small communities. Bandwidth is at a premium and this includes bandwidth of time, finances and people. Often strategic planning is pushed off or even ignored. I want to make a case why it shouldn’t happen “one day” or that one shouldn’t ignore its importance in the face of executing today’s tasks and projects. I also want to share a FREE way to facilitate a professional and strong strategic planning process.

Making the Case

Engaging Constituents Through Strategic Planning

One of the foremost benefits of strategic planning is its ability to engage both internal and external constituents. Internally, the process encourages participation from all levels of the organization, from board members to volunteers, creating a sense of ownership and alignment with the organization’s goals. This inclusive approach not only harnesses diverse perspectives but also strengthens commitment across the organization’s team.

Externally, strategic planning serves as a bridge to the wider community. It opens dialogues with stakeholders, patrons, and potential partners, helping to understand their expectations and how the organization can serve them better. By engaging these groups in meaningful conversations, organizations can enhance their community presence and relevance.

Crafting a Professional Forward-Facing Document

A well-developed strategic plan also acts as a critical professional document that articulates the organization’s vision, mission, and the strategic paths it intends to pursue. This document is crucial for building trust and credibility among potential funders, donors, and collaborators. It demonstrates a clear, thoughtful approach to sustainability and growth, which is often required in grant applications and fundraising campaigns. Recently I interviewed Margaret Hancock, the Executive Director of the Virginia Commission for the Arts for the Small Town Big Arts Podcast. She shared that she looks at their grants as an investment in the organizations, artists, and projects they support. If you went to a financial investor in the for profit sector, you would be expected to effectively communicate not just your current status but your ambitions and structured approach to achieving your goals. The same is true in the non-profit sector, even when you are small. A formal strategic plan is an invaluable tool in constituent building and funding efforts.

Fostering Cohesion Across Projects and Initiatives

Furthermore, strategic planning helps create cohesion across various projects and initiatives. Arts organizations often manage multiple programs and activities that can diverge in purpose and execution. A strategic plan ensures that all efforts are aligned with the overarching goals of the organization, ensuring consistency and synergy. This alignment is essential for maintaining focus and directing resources efficiently, enhancing the organization's ability to make a significant impact. This can be especially true when your workforce is largely volunteer, which is often the case with small organizations in smaller communities.

An Open Source and FREE Way Forward!

Leveraging the Strategic Planning Workbook by the Virginia Commission for the Arts

So, you are asking yourself, I barely have the funds to execute artistic projects, let alone hire a professional consultant to facilitate a strategic planning process. I have good news. The Strategic Planning Workbook developed by Spark Mill and provided by the Virginia Commission for the Arts is an invaluable and FREE resource. It guides organizations through a visual and action-oriented seven-step process, tailored specifically for small to mid-sized arts groups. The workbook not only assists in developing a strategic plan but also ensures that the plan is practical, adaptable, and ready to be implemented effectively.

Arts organizations that are either embarking on or revising their strategic plans will find this workbook particularly useful. It offers not just guidelines but a pathway to transforming strategic planning from a daunting task into an invigorating process that propels the organization forward. It has also been designed by a grant giving entity, providing a structure and approach that will be successful when speaking with, presenting to, and engaging potential funders.

In conclusion, strategic planning is crucial for small town arts organizations, providing a framework that supports growth, engagement, and sustainability. With the right tools and resources, such as the Strategic Planning Workbook, these organizations can look forward to not just surviving but thriving in their communities.

Keeping Tradition Alive: “The Torchbearer Organization”

In an earlier blog and podcast, I identified five organizational models that I have seen pop up again and again in small communities across America. As I continue my work to develop Small Town Big Arts, I would like to share a sixth model that I am discovering: “The Torchbearer Organization.” Across small towns and rural America, a vibrant network of organizations acts as custodians of our American cultural heritage. These torchbearers tirelessly work to preserve, celebrate, and perform the diverse art forms that weave the rich tapestry of our American identity. Today, I will take you on a journey across four distinct corners of the country, exploring four “Torchbearers.”

Virginia's Crooked Road: A Musical Highway

Nestled amidst the breathtaking Appalachian Mountains of Southwest Virginia lies the Crooked Road: Virginia's Heritage Music Trail. This unique driving route winds its way through historic towns and communities, connecting visitors with the living legacy of American old-time, bluegrass, and country music. Along the way, you can catch foot-stomping performances at local venues, delve into the stories of legendary musicians at museums, and even try your hand at traditional instruments during workshops. The Crooked Road is more than just a tourist destination; it's a testament to the enduring power of music to connect communities and keep traditions alive.

North Carolina's Swannanoa Gathering: A Celebration of Roots Music

Deep in the Blue Ridge Mountains of North Carolina, nestled amidst a landscape of rolling hills and rushing rivers, we find the Swannanoa Gathering. This annual event is a haven for lovers of traditional American roots music, attracting renowned musicians, educators, and enthusiasts from all corners of the country. Over a week of workshops, jams, and concerts, participants delve into a vast array of musical styles, from old-time fiddle and banjo to bluegrass and folk. The Swannanoa Gathering fosters a deep appreciation for the roots of American music, ensuring these traditions are passed down to future generations.

Mississippi: Where the Blues Lives On

The Mississippi Delta, a cradle of American music, resonates with the soulful melodies of the blues. The B.B. King Museum and Delta Interpretive Center in Indianola, Mississippi, stands as a tribute to the legendary bluesman and countless other artists who poured their hearts and souls into this powerful art form. Visitors can explore interactive exhibits that trace the history of the blues, witness captivating performances by contemporary blues artists, and gain a deeper understanding of the cultural context that birthed this genre.

Further south, the Mississippi Blues Trail winds its way through the heart of the Delta, marking the sites where blues legends lived, performed, and recorded their music. From juke joints where the blues originated to cemeteries where icons like Robert Johnson rest, the trail offers a poignant pilgrimage for music lovers seeking to connect with the soul of the blues.

South Dakota's Aktá Lakota Museum: Honoring Native American Traditions

Our journey concludes in South Dakota, where the Aktá Lakota Museum and Cultural Center serves as a vibrant hub for the preservation and celebration of Lakota culture. Through captivating exhibits, visitors gain insight into the rich history, traditions, and artistic heritage of the Lakota people. The Center also offers a platform for contemporary Lakota artists, showcasing their work through exhibitions, artist talks, and educational programs. By fostering cultural understanding and appreciation, the Aktá Lakota Museum ensures that the Lakota way of life continues to thrive for generations to come.

These torchbearer organizations represent just a handful of the countless institutions across the country that dedicate themselves to preserving and celebrating America's diverse artistic landscape. From the toe-tapping tunes of the Crooked Road to the soulful cries of the Mississippi Delta blues, these organizations ensure that the rich tapestry of American art forms continues to resonate for years to come.

Tell your own story: The power of “docudramas” in small communities

In today's digitally connected world, small communities often find themselves with no one telling their story. As local newspapers disappear under the weight of lost ad revenue usurped by social media and internet search engines, and when local politics start to echo national politics, small communities are overshadowed by large market narratives and voices. As our media and politics become nationalized or even globalized, so too is our consumption of the arts through streaming services and social media platforms. Who will tell your community’s story? You can.

Within our small, tight-knit communities lies a wealth of untold stories, struggles, and triumphs. This is the perfect time to introduce your community to docudrama, a powerful storytelling medium that not only captures the essence of the communities it engages but also deeply connects with its audience.

In my former life as a theatre artist, I was drawn to docudrama because of its ability to authentically serve an audience by telling their stories and because of its commercial viability. People are naturally drawn to their own stories, the stories of their neighbors, or their community's history. I would argue that it is one of the strongest ways for a new arts organization or an arts organization struggling to find its way to establish strong relationships with a community, developing new and invested volunteers, donors, and consumers.

So what is “docudrama”? Live theatre docudrama, also known as documentary theatre, is a unique and captivating format that blends factual storytelling with the immediacy and power of live performance. These plays draw inspiration from real-life events, historical moments, or personal stories, often utilizing primary source material like interviews, transcripts, and news reports. Verbatim dialogue, directly quoting the source material, is a common technique, allowing the real voices of the people involved to shine through. Actors portray these real individuals (and sometimes they portray themselves) with minimal fictionalization, and the experience may even incorporate multimedia elements like projections, soundscapes, or tangible objects to further immerse the audience. As a result, live theatre docudrama serves not only to educate but also to provoke thought, spark conversation, and foster a deeper connection with the realities and subjects it explores. This unique approach offers a powerful alternative to traditional community theatre, allowing audiences to engage with real stories on a deeper emotional level and gain fresh perspectives on historical events and contemporary issues from their own town, county, or region. For small communities, docudramas offer a platform to share their own experiences, challenges, and achievements and not just replicate or emulate the stories of others.

In the February episode of the Small Town Big Arts podcast, I interviewed James McManus, an accomplished playwright with a career spanning multiple award-winning works. He has written plays, including "Love on San Pedro," "Dorothy 6," "Underground," "Cherry Smoke," and "Blood Potato." Notably, his play "Cherry Smoke" garnered him the prestigious Princess Grace Award in Playwriting in 2006. He has also received recognition through the Helen Merrill Playwriting Award and is an alumnus of the respected New Dramatists program. Some of his work, like "Love on San Pedro," is in the style of docudrama. The podcast is worth a listen to hear his process and how the process has benefits to the artists and the community way beyond the creation of the play itself.

By bringing real-life stories to the stage, in the way James does, these plays humanize the experiences of individuals within these communities, allowing viewers, inside and outside the community, to connect with the stories on a personal level. Whether it's a story of resilience in the face of adversity or a celebration of cultural heritage, docudramas have the power to bridge the gap between communities and spark meaningful conversations. I recently presented for the Literary Managers and Dramaturgs of the Americas digital conference. Most organizations that can afford a literary manager or dramaturg tend to be in large markets. I tried to think through how they could help build a bridge from their larger market to these smaller markets I served. I immediately thought of docudrama because there is fertile ground for stories in so many small communities and through telling these stories, understanding can be built across the cultural divide of our times, rural vs urban.

To share an example of where a bridge of understanding like this was built, I looked to Cornerstone Theatre Company in Los Angeles. Cornerstone is known for its docudrama approach to their work. Much of their work is focused on Los Angeles, but their production of "California: The Tempest" moved beyond Los Angeles and wasn't your typical Shakespearean adaptation. Playwright Alison Carey reimagined the story to grapple with modern Californian issues like food insecurity and environmental challenges. Through residencies in ten California communities over a decade, Carey incorporated local stories and themes, ensuring the play resonated with each audience. The year-long tour then brought the play to life in these communities, big and small, with local actors joining the cast and the production evolving to reflect each location's specific concerns. These performances transcended entertainment, fostering a unique theatrical experience that addressed the social and cultural realities of California.

In addition to their social impact, docudramas also offer economic opportunities for small communities. By showcasing local talent, landscapes, and culture, these productions can attract tourism and investment, boosting the local economy and creating jobs. Furthermore, the exposure gained from being featured in a docudrama can help small businesses and artisans reach new audiences and markets. Take a look at what “The Lost Colony” has been to the Outer Banks in North Carolina.

“The Lost Colony” is an outdoor symphonic drama reenacting the story of Roanoke Island's first English colonists. Debuting in 1937, it holds the title of the longest-running symphonic drama in the United States. Performed every summer on Roanoke Island itself, the play brings history to life for audiences. While the drama takes some creative liberties, it portrays the colonists' struggles, the birth of Virginia Dare, the first English child born in America, and the enduring mystery of their disappearance. Though the fate of the real Roanoke colonists remains unknown, The Lost Colony continues to be a beloved tradition on the Outer Banks and helps drive tourism and is a huge economic driver for the local economy.

However, it's essential to approach the creation of docudramas with sensitivity and respect for the communities involved. Theatre makers must prioritize authenticity and accuracy, ensuring that the stories portrayed on stage reflect the lived experiences of community members. Collaboration and consultation with local stakeholders are crucial to ensuring that the narrative is told with integrity and respect for cultural nuances. In my interview with James McManus, he speaks of the sensitivity needed to successfully and truthfully tell a community’s story. The beauty of the form though exists in the creation process itself, in which the playwright meets with and works directly with members of the community in developing and producing the plays.

In conclusion, docudramas have the power to shine a spotlight on the rich tapestry of stories within small communities and amplify their voices in the global conversation. By combining the authenticity of documentary stagecraft with the emotional impact of a community’s own stories, these productions have the potential to foster empathy, drive social change, and stimulate economic growth. In an age where the voices of small communities often go unheard, docudramas offer a powerful platform for them to share their stories with their neighbors and maybe even the wider world.

Want to live in an “arts-vibrant” community?

Each year, SMU DataArts releases a list of the most arts vibrant communities in America and this includes a small community category. How does SMU DataArts determine arts vibrancy? They determine it by measuring 13 key variables (that are pretty closely weighted). These variables fall under three boarder categories that include: Art Providers, Arts Dollars, and Government Support. Each category and the coinciding variables, play integral roles in fostering a flourishing artistic landscape.

Want to make the SMU DataArts’ list? Work to improve the following:

1. Art Providers:

An essential foundation for a vibrant arts community lies in the presence of diverse and abundant art providers. This encompasses various elements:

**Independent and Freelance Artists:** A high density of independent and freelance artists infuses creativity and innovation into the community. Their presence not only diversifies the artistic offerings but also nurtures an environment conducive to experimentation and boundary-pushing in the arts.

**Arts and Culture Employees:** Having a significant number of individuals employed within the arts and culture sector bolsters the community. Their expertise, dedication, and contribution help sustain a dynamic artistic ecosystem.

**Arts and Cultural Organizations:** The presence of robust and diverse arts and cultural organizations enriches the community by offering platforms for artists to showcase their work, fostering collaborations, and engaging with the public.

**For-Profit Arts, Culture & Entertainment Firms:** These entities contribute to the economic vitality of the arts community by investing in artistic endeavors and creating avenues for commercial viability within the cultural sphere.

2. Arts Dollars:

Financial sustainability is crucial for the growth and sustenance of an arts community. Several financial aspects contribute to its vibrancy:

**Revenue from Nonprofit Arts and Cultural Organizations:** Strong revenue generated by these organizations signifies a healthy demand for artistic experiences within the community.

**Contributed Revenue:** Robust contributions from patrons, sponsors, and donors not only provide financial support but also indicate community engagement and support for the arts.

**Expenses of Arts Institutions:** Sizeable expenses denote significant investment in artistic production, curation, and presentation, showcasing a commitment to quality and excellence in the arts.

**Compensation for Staff and Artists:** Competitive compensation for individuals working within nonprofit cultural organizations attracts and retains talent, ensuring a high caliber of artistic output.

3. Government Support:

Government support plays a pivotal role in nurturing an arts ecosystem. This includes support at various levels:

**State and Federal Arts Funding:** Allocation of financial resources from state and federal bodies demonstrates a commitment to fostering a vibrant cultural landscape.

**Arts Grants:** Grants provided by government entities at local, state, and federal levels offer crucial financial assistance, enabling artists and organizations to innovate and create.

**Local Arts Funding:** Investment at the local level signifies grassroots support for the arts, often contributing to community engagement and accessibility to artistic experiences.

The synergy between these three areas—Art Providers, Arts Dollars, and Government Support—creates a robust foundation for a vibrant arts community. Arts vibrant communties emerge when these elements align and support each other, contributing not only to the cultural richness but also to the economic and social vitality of the community at large.

If you are interested in learning more, I would also recommend watching the 2023 SMU DataArts webinar: Arts Vibrancy Spotlight: Art and Resilience in Vibrant Small and Mid-Sized Communities

Organizational models suited for small towns

Like a pair of shoes, someone who wears a size 5 shouldn’t wander around in a size 12. You'll never gain speed and will often trip and fall because the shoes you are wearing were not meant for your feet. I want to emphasize an important point for those delivering the arts in smaller communities: Delivering the arts in a rural community should not be a mini version of how it's done in a major market. Here are seven organizational models that appear frequently in the research I have conducted. They are well-suited to communities with smaller populations. The shoes fit the feet.

1. The Collaborative

Overview

The Collaborative model reduces financial risk, bringing together non-profits and for-profits to fulfill the shared mission of providing arts to the community.

Implementation

In Keene, NH, Terra Nova Coffee Roaster stands as an excellent example. Owners Eliza and Jeff Murphy have transformed their roastery into a hub for arts and culture, supporting Nova Arts' concerts through a shared space model.

Impact

This collaborative model is not only a collective revenue approach but the tactics employed also share the weight of the expenses. Thanks to this, a community of about 20,000 people can support an authentic live music scene.

2. The Center

Overview

In towns and small cities,  where most small cultural organizations lack the infrastructure to operate a facility, The Center steps in as an umbrella organization providing essential cultural infrastructure.

Implementation

Jackson, WY, boasts a center literally called, "The Center," supporting resident nonprofits with dedicated space and collaborative programming. 

Impact

By centralizing resources, The Center provides smaller organizations the bandwidth to focus their energies on delivering their artistic work. These smaller nonprofits are unencumbered by the financial weight of facility maintenance and upkeep.   

3. The Facilitator

Overview

Private arts focused foundations and arts councils established within communities serve as essential facilitators for arts activities, particularly in smaller locales with limited financial and human resources. These foundations and councils, often structured as nonprofits, play a crucial role in nurturing and promoting cultural endeavors where traditional avenues of support may be lacking.

Implementation

For instance, in Council Grove, KS, the Council Grove Arts Council stands as an example of such facilitation. Operating as an all-volunteer nonprofit organization, the Council Grove Arts Council spearheads a number of initiatives. From organizing a music festival that showcase local talent to offering a spectrum of arts courses catering to all ages and skill levels. Additionally, through initiatives like public mural projects and an annual youth musical production, the council ensures that the arts have a place in this small community.

Impact

Despite limited resources, the Council Grove Arts Council has managed to cultivate the arts in Council Grover. Through its concerted efforts, the council has succeeded in not only providing platforms for artistic expression but also in fostering a sense of community cohesion and pride.

4. The Enclave

Overview

In picturesque and remote landscapes, The Enclave model sees professional artists creating a refuge and artistic home in small communities.

Implementation

Appomattox, VA, hosts Wolfbane Productions, a theater company that has made the rural area its home. The synergy between the artists and the community, coupled with tourism ties, showcases the symbiotic relationship.

Impact

This model not only attracts audiences from outside the community but also fosters a lasting bond between the artists and the small town, emphasizing the value of a shared cultural experience.

5. The Educator

Overview

Geared toward youth development, The Educator model utilizes creative youth programs to impact both community development and the growth of its participants.

Implementation

Sitka Fine Arts Camp in Sitka, AK, and Riverzedge Arts in Woonsocket, RI, embody this model by providing youth with creative and workforce skills that contribute to both their personal development and the wider community.

Impact

Beyond fostering creative skills, these organizations contribute to community development, turning former symbols of decline, like campuses and neighborhoods, into thriving hubs of artistic and economic activity.

6. The Torchbearer

*This is an addition since original publication.

Overview

Across small towns and rural America, a vibrant network of organizations acts as custodians of our American cultural heritage. These torchbearers tirelessly work to preserve, celebrate, and perform the diverse art forms that weave the rich tapestry of our American identity. They preserve but also serve as a tourism destination.

Implementation

The Mississippi Delta, a cradle of American music, resonates with the soulful melodies of the blues. The B.B. King Museum and Delta Interpretive Center in Indianola, Mississippi, stands as a tribute to the legendary bluesman and countless other artists. Further south, the Mississippi Blues Trail winds its way through the heart of the Delta, marking the sites where blues legends lived, performed, and recorded their music.

Impact

These torchbearer organizations represent just a handful of the countless institutions across the country that dedicate themselves to preserving and celebrating America's diverse artistic landscape. These organizations ensure that the rich tapestry of American art forms continues to resonate for years to come.

7. The Cultivator

*This is an addition since original publication.

Overview

In some small communities, the catalyst for artistic output isn’t an artist or an arts organization. Sometimes it is an economic development office or a community development corporation.

Implementation

In Woods County, OK, the Freedom West CDC is this model. During the 2008 financial crisis, they observed that communities that were weathering the moment best were those with strong arts communities that were serving as an economic catalyst for the wider communities they served. Through grant writing, establishing a downtown arts district, and revitalizing old buildings as arts spaces, the Freedom West CDC has established the town of Alva (the county seat) as an arts rich town.

Impact

These entities are not led by artists or arts administrators but understand the economic power and utility of the arts. The understand local, state and national bureaucracies and can leverage funding, initiatives, and incentives to drive their communities to utilize the arts as a tool for community development. This opens the door for artistic endeavors and bolsters local arts organizations.

Conclusion

In the vibrant tapestry of smaller communities, the delivery of arts isn't merely a scaled-down version of metropolitan approaches—it's an art form in itself. Each organizational model mentioned embodies a unique synergy with its environment, catering to the specific needs and dynamics of its community.

From the collaborative spirit fostering shared missions to the empowering embrace of cultural infrastructure, these models are testaments to the adaptability and creativity inherent in smaller community settings. The beauty lies not in replication but in innovation—crafting avenues that resonate deeply within the fabric of these towns and cities.

Whether it's the collective strength of partnerships showcased by Terra Nova Coffee Roaster or the nurturing spaces like "The Center" in Jackson, WY, each model underscores a crucial point: amplifying arts in smaller communities demands tailored approaches, embracing limitations as opportunities for inventive solutions.

The success stories—be it Council Grove Arts Council’s vibrant engagement or the symbiotic relationship between Wolfbane Productions and Appomattox, VA—highlight a profound truth: the arts are not just a cultural aspect but a vital bond weaving communities together.

Moreover, the Developer model's focus on youth not only cultivates creative prowess but also serves as a catalyst for community revitalization. Sitka Fine Arts Camp and Riverzedge Arts stand as beacons, illuminating the path toward a harmonious blend of personal growth and communal prosperity.

In delivering the arts to smaller communities, it's not about fitting into a predefined mold but about sculpting an organic, symbiotic relationship between artistic expression and community ethos. Each model is a brushstroke in a larger canvas, painting a narrative of resilience, innovation, and the transformative power of the arts in fostering vibrant, interconnected communities.

A successful music scene in rural America

I had the great pleasure of visiting Keene, New Hampshire for the Radically Rural conference, which Keene hosts each year. To begin, I highly encourage attending this annual September economic development conference. There is an arts track that you can engage with but it also helpful to hear about rural America on the whole. The arts after all are a part of a larger ecosystem and hearing about how housing, employment, and the environment impact smaller communities can help an arts professional see how they can both respond to their community’s needs and also understand the larger forces at play.

Keene, NH has about 23,000 residents and is the home of Keene State College. It is two hours from Boston and about three hours from Burlington. There is no major interstate and the last leg of the drive from Logan International Airport weaves down two lane roads. When you enter the downtown, what is most striking is the lack of empty storefronts. In any town or city in America in 2023, that is a big deal and the sign of a very healthy community. The town has many unique qualities but Keene is known for its entrepreneurship and is home to the Hannah Grimes Center of Entrepreneurship, one of the founders of the Radically Rural conference.

Nestled in between downtown and the Keene State College campus is an old brick warehouse. It is home to a fantastic partnership between multiple businesses and organizations. During the day, it is home to Brewbaker’s Cafe. This fantastic coffee shop and eatery is a must when visiting Keene. Also in the warehouse is Brewbaker’s coffee roaster Terra Nova, a vinyl shop, a small florist, a space for art workshops, and there is retail art for sale. At night, the space turns into a music venue as Nova Arts run by Eric Gagne takes over. This music producing entity presents multiple shows a week across genres and is investing in the community’s music scene in a profound way. This continual series of music events is building a culture where the people of Keene can discover new music, create and perform music of their own, and have what so few small towns have; a music scene. Nova Arts also produces an annual festival called The Thing in the Spring, also worth checking out.

How are they doing this?

1. Collaboration

   This is possible because of revenue and expense sharing across entities. Eliza and Jeff Murphy, the owners of Terra Nova and Brewbakers are the economic engine of the collaboration. They lease the space and drive continual commerce through the cafe and its adjoining businesses. The space that they dreamed up when they moved to the warehouse from a previous location is modular in design and the tables and chair set up for the cafe can be reconfigured or moved out of the space for the evening activities. They also invested in a stage and sound equipment for activities. This allows Nova Arts and Eric to utilize the infrastructure for free, while the Brewbaker’s staff runs the bar for the concerts.

2. Umbrella Organization

   Nova Arts is in the process of applying for their federal 501 c(3) designation but needed help to get off the ground. As many of you may know, concert promotion is rarely a money making endeavor, particular at a smaller scale. Eric needed the ability to raise funds (he raises about 40% of his operating costs through sponsorships and grants) and needed the ability to have his payroll and bills processed. This is where Jess Gelter and Arts Alive! stepped in. Arts Alive! is a non-profit organization with the mission to support, grow, and connect a sustainable arts landscape in the Monadnock Region (where Keene is situated). The ability for Nova Arts to scale up their organization over time has also been key to making this work.

3. Vision

   In the October 31st, 2023 podcast in which I interview Eliza, Eric, and Jess, it was clear that this is only the beginning. The entrepreneurial spirit of Keene lives in this team of visionaries. The Terra Nova/Brewbakers project that Eliza and Jeff dreamed up is actually not isolated to their current building. They have hopes to transform an entire block that is dedicated to culture building for Keene. This group is investing in their home and they see this as a step in a larger plan. This vision gives them the endurance and the patience to work through some of the inevitable kinks that arise in building culture in a small community (or any community for that matter).

4. Flexibility

   This is a common theme in success in rural arts delivery. They are adapting to what they find and are inherently agents of change. Agents of change embrace change because they want it. When the environment shifts, they meet it. They are making continual adjustments to the arrangement and the delivery of what they do.

If you are in a small town and want to create a culture of live music, I can’t think of a better model. Seeing what they are doing in Keene was an “aha” moment for me. Running a larger organization that produces music has given me a hyper awareness of what a market failure music presenting is for a small community. The approach in Keene is collaborative though and spreads the financial burden out across institutions. This helps lift up the endeavor and provide the time needed to build a culture of concert attendance, which means a community learning how to take a chance on something they haven’t heard of before. A community needs to learn the joy of discovering new artists and they invest in this educational experience because they believe in the mission of the presenters, just like those in Keene.

Theatre isn’t dying. A business model is.

My early professional upbringing as an arts administrator was in the professional theatre world. Now, I find myself running a multi-disciplinary arts center in a small community, and I can't believe how fortunate I am. This is surprising because I hadn't planned on leaving my dream of directing and producing theatre in LORT (League of Resident Theatres) theatres, but that's how things worked out. As I read article after article about the challenges faced by regional professional theatres, I look at our business model of a multidisciplinary arts center and see a more resilient delivery system for the arts than the professional theatre model I once aspired to work in.

To start, what is happening to the professional regional theatres in large and mid-sized cities? The answer is, a lot, and I believe many are doing a good job of diagnosing it. I encourage you to read the American Theatre article entitled "Theatre in Crisis: What We’re Losing, and What Comes Next." Also, worth a read are Michael Paulson’s recent New York Times article and Peter Marks' piece in the Washington Post.

Subscriptions

The business model, originally built on subscriptions, has been slowly declining for decades as subscription audiences age. COVID was another dramatic blow to this already shrinking revenue model. Companies now have to rely heavily on single ticket sales, which are unreliable, more commercially driven, and drive up marketing costs. Michael Paulson has recently written an article in the New York Times focused specifically on the decline of subscriptions in the regional professional theatre.

The traditional professional theatre producing industry has outgrown demand after a period of growth since the 1950s. The most recent surge, in the 1990s and early 2000s, was propelled by funding for downtown revitalization efforts that rightly used the arts as an economic development tool. Now, many theatres anchored in urban cores are falling victim to national shifts in both where Americans work and where they can afford to live. The remote work movement has shifted a large percentage of the “after work” audience away from downtown desks to suburban home offices. They are not traveling to the urban core where many of these companies are located as often. Affordable housing has also driven people away from the high cost of living in major cities to smaller and more affordable communities throughout the United States. Smaller communities like my own in Virginia benefit from this trend.

Changes in the labor force

The social and political movements of the last three years have put pressure on theatre companies and their hiring and HR practices. Payroll and workforce-related costs have gone up due to workforce empowerment during the "great resignation," but this is happening at a difficult time for LORT theaters as their revenues are declining. Most of these organizations are also unionized, which compounds the calls for workforce change and their associated costs.

Changes in programming

Social and political movements have also influenced what companies were producing over the last three years. Artistic Directors responded to the social and political upheaval of 2020 with productions directly addressing the issues of the time. There are theories about the impact this had on ticket sales. One theory is that these production choices might be turning off a large portion of traditional ticket buyers, even those who agree with the political stances being espoused. Perhaps audiences want a break from the constant social strife presented through social media and 24-hour news cycles. In other words, many audiences (though not all) may seek art as a diversion, not activism. This doesn’t mean there aren't audiences for the work being produced, but building a new audience with this interest within a few years is a major task.

Charitable giving

Charitable giving has been shifting for several years. National, regional, and local funding that helped launch and sustain many of these organizations is increasingly directed towards other initiatives like climate, poverty, and political action. This shift has been gradual, but the now-pressing climate crisis and national political upheaval driven by income inequality are accelerating the flow of charitable dollars away from the arts.

Facility depreciation

Lastly, as these organizations age, so do their buildings. Less attention has been given to this aspect, but I am well-acquainted with it as I oversee two theatres in our venues. Keeping up with facility depreciation requires robust revenue streams that cover not only production and associated costs (which are rising) but also ongoing maintenance, repair, and upkeep. The hard truth is that when constructing a building, the nonprofit sector often adopts an optimistic outlook on revenue generation capacity to secure construction funding. During inevitable turbulent moments like recessions or global pandemics, operating models struggle to cope with the financial strain imposed by these buildings. Notably, many of the theatres closing are in the 20 to 30-year age range, which aligns with the lifecycle of major equipment like HVAC systems and roofs. These facility costs, coupled with rising utility costs, create significant strain on available cash for operating expenses.

Theatre isn’t dying. A business model is.

Despite the attention-grabbing headlines suggesting the potential demise of the American theatre, this is not what's happening. Instead, we might be witnessing a significant change in how professional theatre is produced due to a declining business model. The art of theatre, where live actors perform for a live audience, is not ending. I understand that professionals dedicated to the LORT model might feel like this signifies the possible death of their industry, but the live theatre ecosystem extends beyond the highly visible companies belonging to Theatre Communications Group. The referenced articles provide examples of where professional theatre might be heading. I don't possess clairvoyance about the future, but I can share insights with my former colleagues and friends in the sector.

To begin, I'd like to focus on a quote from the aforementioned American Theatre article. Clive Worsley of the California Shakespeare Festival suggests an approach where they provide infrastructure for smaller organizations producing theatrical work. "The idea is that we become a multidisciplinary performing arts venue," said Worsley. "Cal Shakes will be the resident theatre company at the center of it. Our education programs will continue, and we will make the space available to other performing arts groups to share with their audience, merging our audiences. We will also engage in revenue-positive rental activities." I believe Mr. Worsley is on to something.

A recent opinion piece by Monica Byrne in the Washington Post calls for a changing of the guard and argues that professional theatre, as currently produced, doesn't deserve to continue. While I may not fully agree, the concept of creating space for a new generation of artists who are more diverse and closely connected to new audiences is worth considering. Perhaps we can maintain some traditional institutions while also opening doors for a new generation.

What about a new model? A call for “cultural infrastructure.”

I oversee the Academy Center of the Arts in a community of 80,000 residents (with a greater area population of about 250,000) in Central Virginia. While my art center is not a theatre company, live theatrical events do take place in our venues. Over my eight years with the organization, including a major historic theatre restoration and reopening, I've realized that a significant value we offer our community is our cultural infrastructure. We had the capability to undergo a $30 million dollar renovation and facility expansion, something most smaller cultural organizations in our community couldn't manage. In return, we provide our venues at reduced costs to five resident companies, as well as various "performance partners," such as emerging performing arts organizations and youth-oriented dance studios. We also collaborate with concert promoters. The revenue from rentals and ticketing fees covers space usage costs and enhances our community impact. If we were producing our own theatrical productions at the same volume, we'd be in financial trouble. By not producing our own artistic work, we lower overhead and expenses while still promoting and nurturing the arts.

In addition to rental revenue, we feature national touring acts. This is essential for driving our annual giving and corporate sponsorship programs. While these shows generally break even, they attract charitable donations – a critical aspect since our local government doesn't provide significant financial support annually. These shows also minimize space use by usually loading in and loading out in the same 24 hour period, keeping the spaces widely available for third party use. We also offer education programs, galleries/art sales, and a pottery studio, which together create a diverse set of revenue streams.

Of course, our business model isn't flawless. Many systemic issues within the nonprofit cultural sector also apply to us. Scaling is challenging, and each year requires strenuous efforts to secure the necessary charitable funding to keep the organization on budget and meet cultural demands. However, we're not facing closure, and our impact figures are strong. This is why I feel fortunate. If we can boost our endowment in the next decade, the organization can maintain its existence, something many LORT theatres currently struggle with.

I'm increasingly curious whether our approach in Lynchburg, VA could be adapted to larger markets. Back when I was a young theatre artist in Philadelphia in the early 2000s, I started a theatre company. I was working with talented peers and had ample energy. What I lacked was infrastructure. During my participation in the Lincoln Center Director's Lab in 2002, I found that my fellow early-career colleagues also needed performance space. Conversations often revolved around the costs of performance space in New York City which were often cost prohibitive and the spaces that were available were lacking in modern technology and ammenities. Could a future see established venues that have primarily produced their own productions for decades transition to hosting the work of others? Such a shift could leverage their infrastructure while accommodating a business model in decline, while also paving the way for younger, more eager artists who might serve as a bridge to a new audience.

This doesn't imply that these storied theatre companies should cease producing, but perhaps they could produce less and allocate a significant portion of their calendars, resources, and buildings to smaller theatre organizations ready for the next chapter of the American theatre. This would likely change the role of the artistic director but that might be okay. This was a job that was created to build a season and an artistic identity for a theatre company through its subscription series. Maybe this is a job now dedicated to fostering and supporting new talent. I believe that programming can still be curated through the producing partners that the “cultural infrastructure” company chooses to work with. These theatre complexes can still have an artistic identity but now reinforced through the third parties they select, cultivate, and support.

Maybe just maybe, we have some ideas here in small town America. The Academy Center of the Arts, due to our community size, is a hub for culture. We are here primarily to lift up those in our community producing and creating artistic work. What if these larger theatre companies in bigger markets let go of their traditional role as producer and instead become hubs for a network of smaller, hungrier, and more diverse organizations in their ecosystems? This could refresh the work, cultivate new audiences, and ultimately create a more sustainable business model.

Give yourself grace. This is really hard.

I have recently incorporated a new routine into my daily life: reading a short passage of advice from the book 'The Daily Stoic' each morning. This book draws wisdom from the ancient practice of stoicism, which was prevalent in Greece and Rome during the 4th and 3rd centuries BC. This new habit has proven to be quite helpful, especially considering the nature of my work in the non-profit arts sector. The fundamental philosophy behind stoicism is that while we have no control over what happens to us, we can always control how we respond. It involves acknowledging that we exist in a world we cannot change, but we can adapt ourselves and our approach to navigate the circumstances beyond our control.

The non-profit approach to the arts in America poses inherent challenges in terms of sustainability and comfort for those leading these institutions within our communities. These organizations, which deliver artistic experiences to the community, rely on support from the private and/or the public sector, contradicting the dominant cultural and economic principles of the American free market. Consequently, bridging the gaps and compensating for the shortcomings of the arts in the free market remains an ongoing struggle. At the Academy Center of the Arts, approximately 60% of our revenue is earned through customer payments for services such as performances, classes, and facility usage. However, the true value and cost of these offerings often exceed what customers are willing or able to pay. Additionally, 40% of our revenue comes from charitable sources, primarily supporting efforts that prioritize community accessibility rather than commercial success. While there may be alignment between philanthropic goals and commercial needs at times, it's not usually the case, resulting in a portion of the budget that often remains unbalanced despite charitable contributions. As leaders, we find ourselves caught between the forces of the consumer-driven American free market and the philanthropic goals of equity, access, and affordability that drive non-profit fundraising. This tug of war between business models presents various difficulties that are beyond our control.

Knowing this, we continually juggle and adapt to maintain a balanced budget and keep our heads above water. In Small Town Big Arts’ Episode 10 of Season 1, Cyrus Pace at the Jefferson Center in Roanoke, VA (pop 98,865) discusses how many of us feel immense pressure to come up with a brilliant idea and business model that will alleviate the constant juggling and contorting. However, the reality is that these issues surpass any individual or organization. I believe that acknowledging this reality and drawing inspiration from the stoics can lead to better mental health and grant us the grace to persevere against the daily challenges we face.

I am not suggesting giving up; instead, it is important to make decisions with the knowledge that no matter how brilliant we may be, without a massive endowment or a level of benefactors that far exceeds the national average for our population size, this job is one of struggle. Lately, I have been imagining my job as holding up a massive rock. It isn't about changing this unchangeable rock; it is about holding it up as long as I can and doing the best I can to pass it off to someone else before it hits the ground, even if I am passing it off momentarily. Even better, I try to get it as high over my head as possible before my time is up. With all that said, it will remain a heavy rock, and that can't be changed. Gravity will be pulling it down, and at some point, someone else, with fresh arms, will need to take over. If not, it will crush me and ultimately destroy the organization's ability to deliver the arts to our community. I take pride in having the strength to hold it up for as long as I can but I also know that I will have to pass it off and that’s okay.

Another good metaphor for arts leadership is the myth of Sisyphus. Cyrus recently shared a breakthrough he had in his mindset. He essentially realized that he can't change the circumstances of art delivery in America. He is pushing a rock up a hill each year, and as he moves through each cycle, it will inevitably want to roll back down. When things roll or fall down, he must accept that he has to push them back up, and this will not change. There is no end to the cycle, and there is no shame in the rock rolling back down. The circumstances of arts delivery in America are unchangeable for him as an individual. It is like gravity. At the same time, pushing the rock back up is important. It can't sit idle at the bottom of the hill. If it does, those in Roanoke who benefit from the arts will lose something so very important to their quality of life. We must accept that the rock rolls down, and we must accept that it has to be pushed back up. There is no shame in this.

So, be kind to yourself. I have shared examples on the site and through the podcast of small-town success stories. However, don't be misled. Each of these individuals is struggling in their own way. They are just holding the rock a bit higher or have managed to push the rock higher up the hill. Gravity is still pushing down on them, and their success and heroism are acts of endurance, but they have not solved the larger problems. So, as you continue the work, focus on one moment at a time and solve today's problems for your community and organization. Just work on lifting the rock a bit higher and try to push the boulder a bit further up the hill with each day. And don't feel like a failure when gravity inevitably shows up, because it will and it does for everyone.

Drag Queens and Small Towns (Orange County, VA pop. 37,188)

It is often surprising for many to learn that Lynchburg, VA (the home of Liberty University) had a progressive Democratic majority on our city council for about a decade. Like all things, it eventually came to an end. This era was partially responsible for the public investment in the restoration of the historic theatre at the Academy Center of the Arts and the downtown renaissance in development and public investment. In November of 2022, a group of Republicans swept the available at-large bids on the back of a national election. Our City Council flipped, resulting in a 5 to 2 conservative majority.

Now, politics is complex, and Republican and Democratic affiliations are motivated by various factors. I don't believe all our Republican Council Members are the same, nor do they prioritize the same issues. In small communities, it's important to consider each local politician on a case-by-case basis. It's unhelpful to simply put local officials into narrow political boxes. We produce the arts to build bridges and bring people together, so it's crucial not to alienate anyone in our community without cause.

However, the change in Lynchburg has been loud and scary because one of the new Republicans is associated with a radical element of the conservative right. This individual is greatly aggrieved and is employing a national playbook that incites online communities and sparks newspaper headlines. Smaller communities across America are deeply affected by this, ripping them apart. If you follow national news, you'll find this playbook familiar. It attacks members of the trans community, ambiguously defines CRT (critical race theory), and uses cultural activities as flashpoints for its cause. Often, it targets local drag shows, libraries, public programs centered around race, and high school theatre as part of its cultural blitzkrieg.

This recently happened in our community of Lynchburg, during a high school production of "The Prom." The irony of the attack on this production was intense. If you're unfamiliar with the musical, I encourage you to do a quick Google search and read its plotline. In response, our radical right wing council member wrote a letter asking for the superintendent of the local schools to resign over the production. Personally, I wrote a letter of response to the editor of our local newspaper.

Here is a short excerpt:

“The arts have long been a means of exploring difficult topics. While some may find the content of “The Prom” to be offensive, it is important to remember that art is meant to be thought-provoking and spark conversation. It is through these conversations that we can learn and grow as individuals and as a community.”

Around the same time, just up the road from us in Orange, Virginia, a battle was occurring between its town council and the Arts Center in Orange. Read about the issue here. I have firsthand knowledge of this conflict because I serve on the Virginians for the Arts board with their President, Ed Harvey. I thought this would be a perfect podcast conversation, so I reached out to Ed and the Arts Center in Orange's Executive Director, Anna Pillow.

In an episode of Small Town Big Arts we recorded (Season 1, Episode 11, release date June 1st), there are some clear takeaways I would like to share for our smaller community arts facilitators.

1. Firstly, it is important not to label these political attacks as solely "Republican." Those responsible for such attacks represent a loud but small fringe element. They are not as big or as unified as you might think.

2. Remember that the individuals attacking you or those in your community likely do not attend your events, participate in your activities, or contribute to your cause. While it can be frightening to have people calling for your banning or cancellation, the reality is that they probably do not hold much sway over those in your community who support you. In fact, their behavior often stems from being disconnected from any real community networks.

3. Furthermore, when you are attacked, it often galvanizes people around you. Most of the time, what is being said or what you are being accused of is false, and it becomes apparent that it is masked homophobia or racism. For instance, in Orange, the radical element kept mentioning the grooming of children, implying child molestation. However, the nature of the course being taught by a local drag queen was not sexual in nature and was not intended for children. The supporters of the Arts Center in Orange were well aware of this. Trust that love and truth will prevail in the end.

4. The Arts Center in Orange did experience a loss of some public funding during this ordeal. Losing funding is disheartening, but it is advisable not to rely on public funding in a community where such actions are taking place. The loss of funding will not destroy you. As we discussed in the podcast, the most hurtful part was the symbolism. You want to believe that your local government supports the power of the arts, but even if they don't, your community likely still does. You can make up for this loss in funds in the private sector, and in fact, the attacks may even rally your community around you, as they did for the Arts Center in Orange.

5. Be brave and continue delivering the arts to open minds. Anna Pillow, from the Arts Center in Orange, spoke about culture and our often limited ability to see our own because it is the water we swim in. It is essential for personal and community growth to not only discover other cultures but also awaken to our own. This is critical at a moment when America is trying to figure out its values and where to go from here. I may be naive, but I truly believe we will get through this moment with our eyes more open and our horizons expanded, largely thanks to the arts.

6. Stay positive and engaged in your community. The other day, I overheard someone expressing a desire to leave Lynchburg because of the changes in our city council. This seemed premature to me, given how recent the shift in public rhetoric from our local council is. I'm not suggesting that someone should stay in an abusive community in the long term, but I also think we often overlook the positive aspects surrounding us. Moreover, at this early stage of a political shift, granting too much power and credit to a group of people who are not as influential as they want you to believe is too reactive. You do know they want you to leave, correct? It is your community too. The individual threatening to leave was surrounded by a group of people in Lynchburg who support them, their identity, and their political views. Lynchburg is an evolving community finding its way. If you leave at the first sign of internet trolls getting louder, you've surrendered before the real battle even begins. There may come a time to leave your community, and I'm not denying that, but stick it out long enough to learn the true character of where you live in the face of providing meaningful and bridge-building activities in the arts.

Your building may be destroying your organization. (Roanoke, VA pop. 98,865)

In Episode 10 of the podcast we take dive into the difficulties of keeping up with the depreciation of an arts facility in a smaller market. As many of us know maintaining a balanced budget is difficult enough when just focused on delivering the mission in a small market with limited funding resources. Now add the need to keep up with a building’s depreciation. How in the world can this be done?

To begin, I want to tell the story of the Lynchburg Fine Arts Center. My organization, the Academy Center of the Arts, is the product of a merger between the Lynchburg Fine Arts Center and the Academy of Music. The Lynchburg Fine Arts Center opened in 1962 after a private fundraising campaign raised the necessary funds to build a facility that included a 500 seat theatre, art galleries, a pottery studio, dance studios, and art studio space. After the completion of the center, the Honorable Richard F. Poff spoke to the US Congress about the success of facility. In the Congressman’s remarks (on the Congressional record) he boasted how the building was constructed with no government funds. The Lynchburg Fine Arts Center as an organization operated out of the this building for four decades but by the turn of the 21st century the depreciation of the building caught up to the organization. Without a large endowment or local government support, the weight of both delivering the mission of the organization and maintaining the building was too much to carry. In 2003, the board of the LFAC merged with the Academy of Music that was in the midst of trying to renovate a historic theatre on Main Street (now our flagship theatre). The site of the original Lynchburg Fine Arts Center is now a parking lot near one of our hospitals.

To tackle this subject of beating back depreciation, I spoke with Cyrus Pace at the Jefferson Center in Roanoke, VA (pop.98,865). I am particularly excited to share this conversation because during the darkest days of COVID Cyrus and I formed a bond. We began a bi-weekly Zoom call to strategize and to supply each other emotional and psychological support. Even post COVID, we continue these meetings because of their utility to our ongoing work.

The way Cyrus and I see it there are the barriers to paying for the depreciation and there are the solutions. Let’s start with the barriers.

1. The perception that an organization and its leaders can overcome the limited financial return of arts delivery in a small market community. I mean, it just takes “business savvy,” correct? Why is this perception flawed? The simple answer is supply and demand. There is a limited population in a small community. This means that there is a smaller pool of ticket buyers, art buyers, and students. Organizations delivering the arts in small town America must be non-profits and they must subsidize the work they present through individual donors, sponsorships, and grants. This is in turn is a limited pool of charitable funding. A small community only has so many donors, so many corporate entities, and so many grant giving entities. This means operational budgets will always be tight.

2. Small market communities create a fragile revenue landscape for arts organizations. In other words, the other shoe is always about to drop. As Cyrus says in the podcast, donors will always find a reason not to give. Perhaps they are not interested in your programming any longer. Perhaps the leadership of the town’s corporate entities work remotely since COVID and are disconnected from your organization’s value and the impact your organization makes. Perhaps one year you receive a large grant from a national grant giving agency but they won’t give again because they want to turn to other communities in future giving cycles. Cyrus and I also discussed the risk in ticket sales. Ticket buyers are fickle. Sometimes you hit the right note with your community but sometimes you present something they have no interest in. Every offering is a roll of the dice and an expensive roll of the dice.

3. The kick the can mentality. Often organizational leaders know they are sitting on facility ticking bombs but their personal incentives outweigh the organizational needs. A leader can keep a balanced general operating budget while navigating facility needs like a minefield for a number of years. They can develop strong programs, make positive impact on a community and jump to another job or another market before the depreciation catches up to the bottom line. With each change in leadership the time on the clock gets shorter and shorter and eventually the organization crumbles under the financial needs of the building/s.

Next, let’s talk solutions.

1. Local government subsidy. The Jefferson Center is owned by the City of Roanoke but before Cyrus’ time an arrangement was made that included no public funds for maintenance and upkeep. This falls on the Jefferson Center as an organization. Likely it was envisioned that some wealthy benefactors would help them manage the inevitable depreciation but because the building is owned by the city it has not been an attractive fundraising cause. Cyrus teaches graduate courses in arts management at Virginia Tech. One of his student’s Liz Gray did research on the business models of historic theatres owned by counties or cities. All successful theatres are run by non-profit entities but receive significant public funding to maintain the buildings the occupy and program. In some cases they also receive funding to support programing as well which helps navigate the risk in presenting expensive national touring artists.

2. Large endowment. My organization, the Academy Center of the Arts, owns its building and the City of Lynchburg lacks the political will to subsidize our organization. It is critical in the coming years that we have an endowment that is about 10 to 15 million dollars to support our ongoing facility needs while also allowing the organization to maintain strong mission delivery in our community. This is done through a 3 to 5% draw on the principle of the endowment annually. With out this, our organization will not survive under the financial weight of maintaining the buildings.

3. A public/private collaboration. This would be a combination of the above with local government supplying some of the support while the remainder is supported through an annual draw on a smaller but healthy endowment.

So… if you are in the midst of launching a building campaign in a small market take the long term health of the organization and building seriously. If you are in a building, know that additional revenue resources either through your local government or through an endowment are critical to your long term health. Ethically, leaders of such organizations need to shine a light on the impacts of on going depreciation and maintenance of their facilities to the long term health of arts delivery in their communities.

Five qualities that lead to small town arts success

I was talking with a good friend of mine who ran a youth arts organization in Richmond, Virginia for a number of years and now does consulting work. He has enjoyed the podcast but he brought to my attention that it might be a good idea to release a podcast that is a recap of previous episodes and provides some clear instructions on what you can do right now, if you deliver the arts in a smaller community. I feel that I have collected enough intel over the last 9 months that now is a good time to share what I have learned. 

I have showcased a number of model organizations in our first few episodes. Common with all successful small community organizations are some specific qualities. I have identified 5 of them. In today’s episode, I will name them and explain them. 

Quality number 1: Successful small community arts organizations reflect with specificity the community they serve. Their identity is tightly entwined with the community itself (history, culture, landscape, and/or geographical). 

In Episode 1 we spoke with Appalshop in the Appalachian Mountains of Kentucky. Their name says it all. Their work ties back directly to what it means to live, work, and be from Appalachia. I imagine if they were the Letcher County Arts Center and their mission was general arts delivery, they would be significantly smaller and wouldn’t be able to galvanize their community to the degree that they do and they certainly wouldn’t access the level of national funding and attention they receive. 

In Episode 2 we spoke with the Wormfarm Institute in the farmlands of Wisconsin. Farm is literally in their name and the focus of their art work connects directly to the land and what that land produces. Their annual festival travels from farm to farm, utilizing the landscape as a backdrop. The festival also has a theme of fermentation and incorporates all that the area ferments. 

In Episode 3 I interviewed Roger Schmidt who leads Sitka Fine Arts Camp in Sitka, Alaska. Their identity is tightly connected to Alaska as they are identified as not just Sitka’s arts camp but Alaska’s. Being geographically isolated from the continental US, they use this as an advantage and not a disadvantage. They have been recognized by the state and nationally for their work to provide arts access to youth to our most northern state. It is baked into their purpose and business model. 

In Episode 4 we introduced you to Riverzedge in Rhode Island. They are located in Woonsocket and they specifically serve youth (which will come up again in our next essential quality). As a part of their mission and business model, they have a shop where they sell items made by the students they serve and employ. In this shop are Woonsocket and Rhode Island specific merchandise. They also have a program dedicated to public art that utilizes and enhances with specificity the city where they live. 

In Episode 8 once again we meet an organization whose name is tied to their location. Border Arts Corridor. This orgnizartion serves a US/Mexican border community, has their entire identity and purpose tied to the culture of that border community and all that that entails. 

Quality 2: The organizations address a real and tangible need or needs in the community. Their mission is not abstract or broad. The need they address is very clear. 

I often see arts organizations, because of both the subjective and abstract nature of the arts, take a broad approach to their identity and mission. This could feel like a good thing to do in a smaller community when you are wanting to cover all bases and be all things to all people. Vagueness will be the death of you. Vagueness doesn’t galvanize people. It doesn’t fundraise and it doesn’t sell admission. 

I have read a lot of mission statements that look something like this:  

“To produce the arts for our town and its surrounding counties because the arts are essential to a thriving community.”

Sounds nice enough. I like a thriving community. I like the arts. But what community? What arts? Why? 

Now let’s listen to Riverzedge’s mission statement:

“The mission of Riverzedge Arts is to use innovative applied and work-based learning strategies to teach art, design, and critical thinking to the youth of northern RI, providing our participants as well as our community with a path to economic and cultural sustainability.”

Hear the difference? The need they address is super clear. Their identity is clear. 

How about Appalshop which is much more encompassing. Now, there mission starts broad but then it narrows down into specific focus areas: 

It reads: 

“Our mission is to enlist the power of education, media, theater, music, and other arts to:

• document, disseminate, and revitalize the lasting traditions and contemporary creativity of Appalachia;

• tell stories the commercial cultural industries don’t tell, challenging stereotypes with Appalachian voices and visions;

• support communities’ efforts to achieve justice and equity and solve their own problems in their own ways;

• celebrate cultural diversity as a positive social value;

and participate in regional, national, and global dialogue toward these ends.”

When I read that… I understand who Appalshop is and the needs they address. With this approach, they become ESSENTIAL to their community. Not just a nice addition to their small community’s amenities but a critical part of their cultural infrastructure. 

Let’s look at Wormfarm Institutes mission: 

“Wormfarm cultivates connections between our rural and urban neighbors through art, food, and the land. We do this by investing in our cultureshed: This “cultureshed” includes 1. A region irrigated by streams of creators and producers, fed by deep pools of human and natural history and nourished by what is cultivated locally. 2. The efforts of artists, farmers, chefs, scholars, writers, performers and community organizers who contribute to a vital diverse local culture.”

So clear. 

Finally, Border Arts Corridor which is simple but still clear: 

“Border Arts Corridor (BAC) is dedicated to cultivating arts and cultural programming that explores the complexities of the borderlands so that social borders will fall and bridges materialize.”

You know who they are and what they do in one sentence. 

Quality number 3: The organizations have a cause or call to action that galvanizes the community directly and beyond just financial support. 

I want to use Sitka Fine Arts camp as the example here although all of the organizations have rallying cries and calls to action. Often this occurs through festivals or large scale events. For Sitka it is their campus. Their home is an old college campus. The college itself closed and left the community with a sprawl of empty buildings. Over time, these buildings began to fall into disrepair and had become a cultural, economic, and visual blemish for the community. As their Executive Director Roger Schmidt articulated, it became a symbol of community decline. Sitka Fine Arts Camp operated in a different facility at the time of the college’s closure. They were approached to take over the grounds and buildings and convert them into a sprawling art campus. At the time, this move had its skeptics. What was so smart though was that through Roger’s unique leadership and gumption, building by building they began to turn the campus into an active and rejuvenated set of facilities. Many of its skeptics turned into supporters. Now the change did take some fundraising but because of the size of Sitka and the tight nit nature of their small community, revitalization also involved direct involvement of the community itself to repair, replace, and update the buildings much like a Habitat for Humanity project. This direct involvement, beyond financial assistance, created a deep relationship between the community and the organization. You can mow the grounds, repair flooring, paint a classroom… your work is a part of the change in a direct way. 

I love to share the story of their donor wall. It is very Alaskan and rugged. It is made up of wood from the surrounding forest and each wooden plaque is the same size. You get on the wall with any size donation. Everyone is valued equally and it sets a culture around participation and ownership. It also creates a broader social pressure to be engaged. It becomes embarrassing NOT to be on the wall. 

Quality number 4: The arts are valued financially and this is manifested in budgeting, labor, and delivery. 

So, all of the organizations I spoke with pay their artists and/or instructors. This was across the board. Value has to be placed on the labor and art is in fact work. My favorite small community trend is a desire for public art but asking for submissions from artists with no pay. The locale tries to sell the exposure and visibility of the project as the payment. I can tell you, I have watched artists get taken advantage of with projects like this and what happens; the cycle of undervaluing the art continues. Exposure does not lead to the artist's next paid gig. It just teaches the community they can get artistic labor for free. 

Communities can really undervalue the real skill and time it takes to create public art. Here in Lynchburg we have a very bizarre fountain in our river. It is just a slab of concrete with a pipe poking out of it. It shoots a rush of water hundred of feet into the air and resembles an industrial accident as the ED of our local children’s museum loves to point out. Visitors and many locals often wonder what it is and if it is on purpose. Sadly it is. So, how did we get a fountain that looks like an industrial accident? My understanding is that the original vision was that an artist would create something for this fountain. I am not sure of the history of the funding, but funding never manifested for an artist so now we simply have the exposed fountain mechanism with nothing to beautify or define it. I imagine this had to do with a lack of understanding that art has a cost and that cost wasn’t understood or planned for. I would argue the fountain now does the opposite of its intent. Instead of wowing and inspiring visitors it creates snickers and jokes. 

For this quality of valuing artistic labor, I want to use Riverzedge Arts as my prime example. The reason is that their organization could actually exist without paid artistic labor because they work with youth, most of whom are under the age of 18 and the nature of the work is educational. It would be easy to simply build a tuition model, generating a revenue line for the organization. If they did this though they wouldn’t be who they are and they wouldn’t have the relationship to the community they do. The organization’s focus is to work with young people from low-income families and underserved communities, providing them with opportunities to develop their creative and technical skills and in so doing the organization provides job training and career development services for young people who are interested in pursuing careers in the arts. So, they pay the students for their commissioned work that manifests in their public art, multi-media commissions such as videos and graphic design, and work that they create that is sold in the organization’s online shop that includes merchandise such as t-shirts and coffee mugs. On one level this is necessary for the students to participate. Many of these students' economic circumstances means they would need to be working part time jobs to help support their families if they were not participating in Riverzedge’s programs. Most importantly though, they are teaching their community that the arts are valuable and the skills associated with creative fields are a part of the labor force. Because it is valued, funding follows. 

Also, the staff of these successful organizations are paid and often provided benefits. In episode 3, Roger and I talked at length about the importance of providing his team in Sitka health insurance. As he said, you just have to do it. There is certainly the ethics of the matter but it is also a business strategy. Now, I went through a similar transition as Roger in providing health insurance for our staff here at the Academy in my first couple of years with the org and I am now in the process of implementing a retirement plan and 4% match for our team. It can be easy to look at your budget and see that the math may not add up in the present. Your payroll seems to be weighing you down and all you can think about is the dollars you have to raise and the tickets you have sell and the number of students you need to enroll to cover all these costs. Here is the thing though… it is an investment. Good employees will raise more money, will sell more tickets and will engage more students. If your team is good and they feel good this will project out into the community. If they feel undervalued or you simply employ (or in some cases not employ) who you can afford… I promise you your engagement will suffer. The arts are SO hard to deliver and the people who do it and do it well have value. 

Last but not least, Quality number 5: The organizations have a direct and defined relationship with their board of directors. 

Now, the organization I spoke with did not share in the number of board members they had or the make up of their boards. Some boards have non artist community members with skills they bring to help support the organization such as lawyers, fundraisers, civic leaders etc. Some boards were only made up of artists and practitioners and some organizations had large boards and some very small boards. 

What they all shared though was a clear and established relationship to that board that was mutually understood and beneficial to all involved. I can’t express how important this is. It looks different for each org and each community but what is shared is there are established expectations for the board and from the board. It is active and not passive. If you are forming an organization or running one, it is important to establish clear roles, responsibilities, and goals for the board. If they are simply a group that gathers around a table to listen to reporting, you are not maximizing the potential for your organization. This group of people is responsible for the success of the organization and they need pathways to do so. Whether they are building a new roof in Sitka Alaska, drumming up commissioned artists to come to a farm in Wisconsin, or connecting you directly to your corporate community in Rhode Island, you must give them clear pathways to support you and clear means of measuring their success. 

So to review: 

Quality number 1: 

The organizations reflect with specificity the community they serve. Their identity is tightly entwined with the community itself.

Quality number 2: 

The organizations address a real and tangible need or needs in the community. Their mission is not abstract or broad. The need they address is very clear. 

Quality number 3: 

The organizations have a cause or call to action that galvanizes the community directly and beyond just financial support. 

Quality number 4: 

The organization values the arts financially and this is manifested in budgeting, labor, and delivery.

Quality number 5: 

The organization has a direct and defined relationship with their board of directors.

My advice is to enhance any of these things you are currently doing and to begin to address the others if you are not. This can be overwhelming with limited resources and community specific challenges, but if you make incremental changes in any of these areas, over time there will be results for the good. Successful arts delivery doesn’t happen overnight. One quality not mentioned is patience and knowing it is a long game. Don’t be discouraged and remember the efforts are worth the results. I will share that my own organization probably needs to overhaul its own mission and we are in the midst of addressing our board engagement. None of us is perfect. 

Thank you and keep up the good work and remember your community needs you! 

Border Arts Corridor: Douglas, AZ (pop. 16,531)/ Agua Prieta, Mexico (pop. 73,303)

I have spoken with a wide range of smaller community arts organizations since launching Small Town/Big Arts. I have interviewed leaders delivering the arts in the farmlands of Wisconsin, in the mountains of Kentucky and even on the Alaskan coast. In Season 1 Episode 8 we continue to examine the complex beauty of small town arts delivery in America when we speak with the leaders of a unique organization based in Arizona but whose mission operates transnationally.

Border Arts Corridor (BAC) was founded in 2015 as an arts organization located in Douglas, Arizona. BAC recognized a need for an arts organization dedicated to telling the narrative of those who create art within their unique border community.Since their founding, they have prioritized serving their dual communities of Douglas, AZ and Agua Prieta, Sonora in Mexico. They do so by creating art installations, workshops, and programming for individuals on both sides of the border.

What I love about BAC ( https://www.bacaz.org/ ) is that they like many of the success stories we share here has an identity intertwined into that of the community they serve. I don’t live in a border community but I hear a lot about the border as many of us do. The Mexican/American border is highly politicized and like anything that politics gets a hold of, the story is more complex and the people involved are like you and I in more ways than they are different. They have people to serve through the arts, artists to elevate, bureaucratic systems to navigate, and a message to share.

We all have local officials to navigate in our work but BAC can add custom and border officials to their list. By serving people and artists on either side of the border their work literally transcends a border. I pose the question, what is a border? To begin it is man made and it is much more fluid than any of us outside of a border community can really understand. BAC’s Artistic Director Martina Rendon mentioned that she may cross the border up to three or four times a day. She lives in Arizona but has family and friends on the Mexican side of the border in Agua Prieta (pop. 73,303). Agua Prieta is her community along with Douglas, AZ. This dual community may seem unique to many of us in the United States but completely normal for many living on the border. This means the work needs to operate with this border fluidity as well and in turn is a reflection of this reality. BAC’s work is executed on BOTH sides of the border.

When asking founder and board President Jenea Sanchez how they navigate work on both sides of an international boarder. “We make it work,” said Jenea. When running a non-profit organization you need and want a board of directors that is reflective of the community you serve. Jenea spoke to the fact that they want to someone on the board who represents the Agua Prieta side of the border. I asked what the legalities of this are (some living in Mexico serving on an American non-profit board). “It’s complicated,” said Jenea. There are dual citizens and American citizens living on the Mexican side of the border that they will target. It does complicate the circumstances and make up of this particular board seat, but they recognize the importance of that representation. The perspective and needs of the Agua Prieta are just important as those living in Douglas, AZ. I think anyone delivering the arts in a smaller community must have their board represent the community they serve, how ever that looks.

BAC’s work creates tangible connectivity across a metal fence. The fence divides the two communities they serve but the two communities are actually quite linked. They are linked culturally and economically. Their artist residency and Bi-national Arts Walk move back and forth across the border.

One of BAC's main projects is the Border Biennial, a large-scale exhibition that brings together artists from both sides of the border to showcase their work. The Border Biennial aims to break down stereotypes and promote understanding by highlighting the diverse perspectives and experiences of those who live and work along the border. The exhibition features a wide range of media, from painting and sculpture to photography and video installations.

Another project that BAC is involved in is the creation of public art installations that engage with local communities. These installations are often created in collaboration with local artists and residents and aim to reflect the unique culture and history of the area. One recent example is the "Migrant's Altar," a public art installation that honors the lives of migrants who have lost their lives trying to cross the border.

BAC also hosts educational programs and workshops to help young people develop their artistic skills and promote cultural exchange. These programs often focus on creating opportunities for youth to connect with their heritage and learn from artists and educators from both sides of the border.

Overall, BAC's projects aim to use the power of art to create meaningful connections between people from different communities and promote understanding and empathy along the border. I strongly encourage you to use them as an example of gumption and ingenuity. Even if you are not in a border community, their work is an example of how to connect deeply to your community and navigate the local politics and bureaucracy of your community.

Making the Impossible Possible: The story of Lynchburg’s (pop. 79,697) 30 million dollar dream.

A colleague of mine recently shared that he asked Chat GPT to write a case statement for a historic theatre in a small city. I did the same and here is part of what I got back:

“Investing in the restoration of the historic theatre in [City Name] is a once-in-a-lifetime opportunity to preserve an important part of the city's history, while also revitalizing the area and providing a host of economic and cultural benefits to the community. With a solid investment plan in place, and a commitment to sustainable and responsible operations, this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.”

Chat GPT is correct, but I can share from personal experience and observations of the wider American arts and community planning sectors that building belief around this statement can be difficult. In Season 1, Episode 6 and 7 of the Small Town Big Arts podcast, I speak with a group of key community leaders in Lynchburg, VA, where at the Academy Center of the Arts, we were able to build belief, raise funds, and complete a 30 million dollar construction project on a historic theatre originally built in 1905 and that closed in 1958. Proudly, we re-opened the theatre in 2018 after it had been closed for over 60 years.

Now, I want to pull out some of what Chat GPT put together in the above statement and dive in a bit. To begin, “Investing in the restoration of the historic theatre in [City Name] is a once-in-a-lifetime opportunity to preserve an important part of the city's history, while also revitalizing the area and providing a host of economic and cultural benefits to the community.” Easy enough, right? Well, if you are in a smaller community you know that building belief around all of this can be very difficult. This was the case for our project in Lynchburg. I joined the Academy Center of the Arts in 2015 and by that point the capital campaign to restore the theatre had been underway for 17 years. So clearly, it was very hard.

So what changed in the final three years of the campaign? In Season 1, Episode 6, a common theme arises from our conversation and this was community credibility. How does an organization gain credibility with its community? Well some of that depends on your community and its constituents but I do believe most communities share some common barriers to credibility. The first is trust. Whether we like it or not many in the arts are on the outside looking in when it comes to local politics, business development, real-estate development and financial investment. Of course, this is a broad statement and I know there are exceptions but the Academy was not. Sackett Wood, a former Academy Board President said that often he heard back from potential donors that the project was a “boondoggle.” (Noun meaning: work or activity that is wasteful or pointless but gives the appearance of having value.) So how did the Academy’s theatre go from being a “boondoggle” in the eyes of the community to having credibility? Well, it was incremental but it was by building a board that included individuals with two important qualities. The first was strong community reputations outside the field of the arts and second was expertise that would aid the project directly.

One by one, servant leaders in the community were recruited to take on critical parts of the fundraising, construction management, historic tax credit acquisition, and financial planning. This didn’t happen over night but as more joined the project, momentum was built and more and more joined. As more community leaders with strong reputations outside of the arts joined the project, the belief from the corporate, government, and private donor sectors increased. The project went from being a “boondoggle” to being a viable project. In 2018 fundraising completed and the theatre was restored with zero debt… and the servant leaders had fun and grew a deep connection to the Academy as an organization.

Going back to Chat GPT: “With a solid investment plan in place, and a commitment to sustainable and responsible operations, this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.” As the team of servant leaders grew, so did cultural changes to the institution. When I arrived at the Academy in 2015, the financials were in shambles and there was a culture of austerity built on years of faulty strategic plans. It was the project itself, both the fundraising and the construction that changed the organization, helping it meet the moment of the building we were about to occupy. As an organization we were pushed to the meet the moment and rise to the level of those that were supporting the project. Our finance committee meetings became transparent and pro-active, our strategic planning had be savvy and researched to answer the questions of tax credit investors, local government, and local corporations investing in the project, and our programming had to live up to what we said it would be, a wide ranging inclusive catalogue that provided real economic impact to our developing downtown.

In our fifth year of operating the theatre (with over 2 years of pandemic interruptions) we are in a place where our trust in the community has grown and we have in place effective board governance. We also have a skilled and dedicated staff and comprehensive strategic planning process. We are not out of the woods yet, but know the path to long term health. Referencing Chat GPT, “this theatre has the potential to become a cornerstone of the city's cultural scene for generations to come.” To meet that potential we will need a considerably endowment. Today our endowment sits at about 2.5 million. I firmly believe that if our institution is going to remain resilient for decades to come, we will need to see that endowment grow by about 10 million dollars. Not easy, but we now have the community trust and the vision to see a path there. This is all thanks to our small community “boondoggle” and making the impossible, possible.

I also imagine that the subject of endowment growth will be featured on Small Town Big Arts sometime in the near future…

“Artist Thrive” is here to help.

Artists Thrive is an initiative that began in 2016 when a group of arts professionals and artists produced the first draft of a field-wide assessment rubric. Through multiple rounds of feedback, Artists Thrive was publicly launched in 2017. Artists Thrive is driven by a leadership team of artists and diverse collaborators from different sectors and communities across the country and is supported by the Emily Hall Tremaine Foundation.

The Emily Hall Tremaine Foundation has a focus on supporting artist careers. Their website states, “Since 2002, EHTF directly expanded career opportunities for artists by increasing access to business development expertise, entrepreneurial skills, and related professional practice and career supports.” Through Artist Thrive, the foundation aims to identify the things that help artists pursue their vision and to enable communities to benefit from the arts in all aspects of life. Resources and tools within Artists Thrive help artists, arts organizations, and other groups that work with artists collaborate and craft meaningful stories about why art-making matters. 

Why is this important? Well, I wish that people and communities all inherently understood the importance of arts organizations and artists in a community but sadly we often have to make the “case” for their importance. Let me frank though, the organizations and stories that we have focused on through our blog and podcast are successful because they are valuable to their communities. This means the case that they make to funders and partners is understood, felt, and very very true. What Artists Thrive provides are invaluable tools to help guide you down a path of creating community value while also providing you metrics and narratives to articulate that value back to new and existing constituents.

Artist Thrive draws heavy inspiration from “The Social Profit Handbook” by David Grant. He states, “If you measure what you value, people will value what you measure.” A common theme I am finding with successful small town organizations is that they have clearly identified true value they can provide their community and that value is understood by the community and funders. Artist Thrive has a set of tools to send you on this path.

Artist Thrive also holds an annual summit which I strongly encourage you to engage with. Artists, arts leaders, educators and funders from across the country come together annually, in-person and online, to collaborate, gain inspiration, engage and align.

They have re-opened registration for those interested in joining thier community.  New registrants have access to all the on-demand content, session recordings, art breaks, and all the new opportunities that will continue to roll out through the virtual portal. 

To learn more, visit: https://www.artiststhrive.org/

Riverzedge Arts: Woonsocket, RI (pop. 43,000)

Woonsocket, Rhode Island is home to Riverzedge Arts. The community resides in Providence County, Rhode Island with a population of about 43,000 according to the 2020 census. It is Rhode Island's northernmost city and lies directly south of the Massachusetts state line and constitutes as a part of the Providence metropolitan area with a population of 1.5 million, which makes the locale unique from some of the other organizations we have spoken with. The client base, many of whom are economically challenged youth, don’t have access to the larger metropolitan areas because of transportation and income barriers and must have significant services in their immediate locale. Riverzedge’s adult workforce is also drawn from a larger geographic area. There are positives and negatives with this but it serves as another interesting example of how a small community can serve the realities of their community while also drawing on skilled labor from beyond their borders.

Riverzedge was formed in 2002 by artists, youth development professionals and community leaders concerned about patterns of violence among disaffected youth in the wake of the Columbine shootings. Riverzedge is built on the philosophy that art is a powerful force for social change, and that creative entrepreneurship through the arts is a productive and life-changing opportunity for teens. Riverzedge has garnered national attention and awards for the academic success and artistic achievements of their youth, and for their consistent performance and innovative approaches to youth development. In November 2013, The Wallace Foundation cited Riverzedge as one of 8 exemplary organizations nationwide in their research on out-of-school time arts programs for low-income urban teens. Riverzedge also was awarded a President’s Council on the Arts and the Humanities National Arts and Humanities Youth Program Award in 2010.

Riverzedge is creating the next generation of entrepreneurs in Rhode Island through workforce development programs. Now, this may not be what you would initially associate with an arts organization but perhaps you should. Through training (students are paid for their work) in graphic design, multi-media, screening printing and public art design and execution, youth of Woonsocket, RI are instilled with workforce skills while also finding community and a positive outlet for expression and exploration. The model involves an Artistic Director and trained instructors who mentors a team of youth who execute multiple creative projects for the private and public sectors. To top it off, these projects provide earned revenue for the organization. Riverzedge works with clients to design and create merchandise and apparel, execute public art projects, design logos and marketing materials, and create multi-media services through photography and video work.

To begin, this youth workforce is not only improving the lives of the youth but also improve the lives of the wider community. The services they execute are at a significantly reduced price point for their clients, lowering cost barriers for many running small businesses, non-profit organizations or government departments in Woonsocket. Second, the organization’s focus on public art as a part of their services is improving the aesthetics of Downtown Woonsocket, which is a community that struggles with blight and poverty. Finally, they are building civic and community pride in Woonsocket by making merchandise that celebrates the city and the state of Rhode Island.

As a business model their set up is brilliant. The value their youth workforce development provides is worthy of private and public grant funds. The clear effectiveness of their programs also provides them a 65% retention rate with annual individual donors. At the same time, they are able to pay their youth (and staff) for their time because the work they do provides real dollars for the institution through commissions, service fees and merchandise sales. It is an example of how a non-profit business model can truly combine their workforce and mission delivery into a symbiotic relationship.

I really encourage you to visit their website and learn more. They are truly making big art in small town America.

http://riverzedgearts.org/

Sitka Fine Arts Camp: Sitka, AK (pop. 8,500)

The Sitka Fine Arts Camp was founded in 1973 to provide isolated Alaskan communities with little or no youth arts programs exposure and training in the arts. Because of remoteness and low population density, Alaskan youth are at a severe disadvantage in access to high quality arts. For the majority of their students, SFAC continues to be the only opportunity they have in the State to work with and learn from professional artists. Building from its original mission, SFAC has become a nationally acclaimed program. They serve approximately 1,000 students annually from Alaska and throughout the world.

In 2011, SFAC was gifted the historic Sheldon Jackson College Campus. This college campus had been closed for four years and was in a state of complete disrepair. SFAC has since overseen one of the most extraordinary grassroots volunteer stories in our country: the revitalization of this National Historic Landmark. Between 2011 and 2015 one thousand volunteers (one ninth of Sitka’s population) logged over 45,000 volunteer hours rebuilding the campus, demonstrating unprecedented community support and giving the Sitka Fine Arts Camp a permanent home. Strong volunteerism and donor support continue, demonstrating the value that Sitka Fine Arts Camp holds for their state.

We have a lot to learn from Sitka Fine Arts Camp and their leader, Roger Schmidt (listen our interview with Roger, Episode 3 of our podcast series). The first is the importance of the value an organization provides its community. The second is a lesson in community buy in and how to galvanize a community around a cause.

Value:

What Sitka Fine Arts Camp has done so well is to constantly evaluate the value they provide their community because without that value they don’t survive. Their mission and their services must mean something significant to those they serve. They do this by truly being responsive to their students and constituents as opposed to simply providing what they think is valuable. Now, sometimes the value the institution understands and the value the students and constituents understand line up but SFAC has always evolved with what the community and the market tells them. If classes or performances they present are not engaged with, they discontinue or change their approach. They don’t blame the community for not engaging nor do they solely blame their marketing efforts.

They have also, existing in a very small community, looked to where their value extends beyond their town border. They have found a space where they are serving state wide needs and not just Sitka needs. Because of the remote nature of much of Alaska, the ability to engage in the arts as a youth is limited. They can fulfill a need the entire state has by providing arts access to all Alaskan youth and this positions them well for geographically wide engagement in tuition based programs and also propels their charitable giving, which comes from the entire state and not just the town of Sitka.

Galvanization:

The story of Sitka’s home on the former Sheldon Jackson College campus is a story in three parts. 1. How the arts can address community decline, represented in abandoned spaces. 2. Organizational growth in small communities (and perhaps in any community) can benefit from slow and deliberate growth. 3. Having something the community can constantly be directly involved in (in this case, renovating and restoring campus buildings) is extremely beneficial for engagement, support, and longevity.

1. In my podcast interview with Roger (Episode 3), Roger talks about how big structures tide to institutions like Sheldon Jackson College become a symbol for communities. They tell a story. Is this community thriving or declining? When the college closed and the campus was boarded up and regular maintenance stopped, the campus became a symbol of town decline. It was an arts organization that came in and changed that narrative. Through the arts, this community symbol illustrates to the rest of the world, a thriving community and not a declining one.

2. Roger also talks about his determination to avoid debt as they took on the responsibility of renovating their new campus home. Because of this, the organization took on the renovation one plywood piece, one window pain, and one building at a time. The organization had time to keep pace as they scaled up their operations and services.

3. Finally, Roger jokingly said that in some ways the renovation of buildings have become their mission. Obviously their mission is to serve Alaskan youth through the arts, but there is a lesson to be learned in creating direct community involvement in tangible projects to keep a community engaged, involved and supportive. Taking on the restoration of an abandon college campus, a historic landmark and town symbol, has been a tool for community involvement, understanding, and connectivity. Volunteers continue to give their time to restoration, repairs, and grounds upkeep. This is extraordinarily powerful.

To learn more about Sitka Fine Arts Camp, visit their website at:

https://www.fineartscamp.org/

Wormfarm Institute: Sauk County, WI (pop. 65,000)

I had the honor of meeting Donna Neuwirth through the National Arts Strategies Chief Executive Program in 2014. Donna is the founder and Executive Director of Wormfarm Institute in Sauk County, Wisconsin (pop. 65,000 ). If you have heard of Wormfarm Institute that is because they are a national leader in rural creative placemaking. They have received NEA Our Town funding as well as an ArtPlace America grant (two of the most prestigious awards for creative placemaking). They describe themselves as “an evolving laboratory of the arts and ecology and fertile ground for creative work.” Their work explores the links between urban and rural communities within and beyond the food chain, creating opportunities for cross-sector collaboration. They have brought together farming, conservation, and the arts in a beautiful way. Their goal; to “rekindle the cultural and enhance the economic possibilities of our region while celebrating its unique natural and human history.”

If you don’t know about Wormfarm Institute and you are delivering the arts in a smaller community, you must. They are a fantastic model of how to approach artistic work work in a rural setting. The approach as Donna stated in our podcast episode is one of “abundance” and not scarcity. It can be easy to fall into a scarcity mindset when producing the arts in a smaller community. One can get pulled into a narrative that there are limited resources to produce work and that there are fewer people to engage with the work. Wormfarm Institute at its core has embraced what it has lots of. This includes beautiful landscapes, local agriculture, and a unique location and by embracing who they are and what they do have their annual Farm/Art DTour attracts 22,000 people to rural Sauk County each year.

Also at their core is bringing together the rural and the urban. I think this is an important model for those who are providing the arts in smaller communities. The reasons for this are many.

1. Cultural Value. We are at a moment when the divide that exists between rural and urban communities is dangerous. This divide is being exploited by politicians and media outlets for fleeting power and money but is not good for the longterm health of our country. The arts are a fantastic means to create meaningful engagement and force all of us to reevaluate our perceptions of those from other cultures (which I think exists unfairly on BOTH sides of the political spectrum. Donna mentioned the idea of being in the “radical middle”). A mission built on closing this dangerous cultural divide provides meaningful value to our society.

2. Inspiration. Urban artists and audiences will be inspired and rejuvenated by rural settings. Urban life is hard. Rural communities provide a respite from the everyday hustle, noise and energy of living in a city. People want to escape, breath, and unplug from their everyday. You are living in an important asset, not just for your local community but to those from the outside. These outsiders could be visiting artists or visiting audiences and serve as a boost to you and your local economy.

3. Funding. So much of our funding comes from the value we provide those who are providing the funds. If your mission serves both your locale and those in major urban markets, your funding sources just expanded. To my first two points, your mission of arts delivery could be serving a larger cause of bridging cultural divides and could draw the engagement of artists, audiences and funders from outside your own community.

All in all, please visit the Wormfarm Institute’s website and explore. Above all, visit them and attend their inspiring Farm/Art DTour. Their use of fermentation as a metaphor for the transformative qualities of the arts and agriculture is truly inspiring.

Appalshop: Letcher County, KY (pop. 22,000)

*As a preface to this post and the podcast interview, the day after our interview with Alex, Letcher County was struck by major floods that made national news. Appalshop was flooded and major damage occurred to their facility and archives. It was devastating to learn. The staff and team are okay and are in the process of recovery but their community suffered greatly. What was most admirable about their response was how it was focused on the larger community they serve and not on themselves. They released information both for the community and those outside the community to aid them in navigating the damage and devastation. Do consider supporting them and the Letcher County community:

https://appalshop.org/news/appalachian-flood-support-resources

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In our first podcast (release Friday, August 12th) we interviewed Appalshop Executive Director, Alex Gibson. I am a huge fan of Appalshop and it was deliberate that this organization was the first to be featured on the podcast. They are a perfect model of an organization meeting the needs of their community and establishing significant value to those they serve. They are also unique in that they receive 70% of their operating revenue through grant sources. This means their programs have value to foundations and government that move beyond their locale.

Their mission is to enlist the power of education, media, theater, music, and other arts to:

● document, disseminate, and revitalize the lasting traditions and contemporary creativity of Appalachia;

● tell stories the commercial cultural industries don’t tell, challenging stereotypes with Appalachian voices and visions;

● support communities’ efforts to achieve justice and equity and solve their own problems in their own ways;

● celebrate cultural diversity as a positive social value;

● and participate in regional, national, and global dialogue toward these ends.

Appalshop operates a radio station, a theater, a public art gallery, a record label, an archive, a filmmaking institute, a reproductive justice program, a community development program, and an incredible array of other initiatives, all in a renovated warehouse in downtown Whitesburg, Kentucky.

In 2019 Appalshop installed the largest net-metered renewable energy system in their region and helped community partners install their own. They installed a Letcher County walking trail, supported a music education camp for girls and gender nonconforming teens, and created a community fund for small businesses like Black Sheep Brick Oven Bakery.

The location’s the thing: Amherst County, VA (pop. 33,000)

I have been thinking a lot about what the opening blog should cover on my new endeavor, Small Town/Big Arts.

Where I want to start is with the story of a theatre company I founded in 2006, the Endstation Theatre Company. The company was incorporated and initially based in Amherst County, VA (pop 32,000). This decision was done out of convenience rather than out of a deep desire to serve the residents of Amherst County. At the time, the company made up of recent and eager Florida State University graduates, needed a home base with a scene shop and rehearsal space. Amherst was my childhood home and my father was on the theatre faculty at Sweet Briar College which happened to be in the county. Because we had free access to the campus amenities, our initial thought was that we would rehearse and build our work in and on the campus but tour our theatrical work beyond the county’s borders. At the time, I had little to no intention of specifically serving the community where we were incorporated. Our location was merely a means to an end.

After the first year of touring a production (which was exhausting and logistically difficult) the notion of having a permanent home became more attractive. Knowing that our rehearsal and production resources were at Sweet Briar College, we started to think of how we might produce theatre on the campus and end our touring approach. From here we launched an annual summer theatre festival on the college grounds.

Serving as the Artistic Director, I started to ask myself the question of how we would attract audiences to this new venture. Because I grew up in Amherst County, I was aware of community’s culture and history but was also aware that a professional theatre festival had never existed in the county and we were going to need to build an audience that did not exist yet. With our first season we launched two shows. The first was an original play about Hurricane Camille that tragically impacted neighboring Nelson County in 1969 and a site specific Romeo and Juliet staged outside and on the front of a historic building on the Sweet Briar College campus. With this first season, we found enough success to continue on because audiences were engaged in something that felt relevant to them. The festival grew each year, built a loyal fan base, and remained on the campus for 8 years. Endstation Theatre Company (which I am no longer associated with, but remain personally close to some of the artists) continued to grow and is still producing a summer festival but now on the Randolph College Campus in neighboring Lynchburg, VA (pop. 90,000).

That first summer season became the model for the company during my entire tenure. The formula was basic and was based on a simple question; What value could we provide the community that would also feel true to our artistic mission and aims? We didn’t simply think about what we wanted to do as artists but thought about what we could do to provide real value to Amherst County and its surrounding region (with specificity). I know if we had simply produced my favorite playwrights and created theatre with subject matters that modeled my previous life as an artist in Philadelphia, we would have failed. We knew we loved original work and we knew we loved site specific theatre. We could remain true to this and harness these loves to put a spotlight on Central Virginia, exciting the residents of our community. With this approach in mind, we started a playwriting laboratory that produced original plays about and for Central Virginia and also staged imaginative outdoor site specific work with recognizable titles that highlighted and embraced the beauty of the Sweet Briar College campus and later the region itself.

With this localized approach, the community connected to our work and in turn they felt it was about and for them. Our board had great pride in representing us, supporting us, and engaging with our work. Our revenue (earned and charitable) grew each year and in 2012 we were honored by Virginians for the Arts with the “Rising Star” award. Not only were we recognized locally but those in Richmond and throughout the larger state recognized what we were doing was special.

Producing the arts for smaller communities can be tough. Often the resources are scarce (human and financial) and the supply and demand side of the work can feel upside down. Our slogan for Endstation in those early days of serving Amherst was drawn from a Washington Post article about the company in 2011. The reporter stated, “at Endstation, the location’s the thing.” I loved this. Even a journalist from outside saw that we took pride in where we were and who we were serving. I also knew that our long term viability was built on the value the community saw in our mission and presence and for our future success we had to reinforce, replenish, and build upon this value.

So, what real value can you provide your community that is true to your mission and goals?