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likely a number of highly qualified individuals who can’t afford to volunteer. Maybe part of the solution is finding grants that can support a volunteer during this time or to cut the length of the required volunteer time. I definitely see a lot of positives to the subsidized volunteer approach, and I don’t want to see another situation where teenagers cry their hearts out because they can’t afford to volunteer. Charles Lewis: I misspoke a bit because it’s not just volunteers. We have about 45 part-time instructors, and 95% of the instructors are paid. Also, a number of the full-time staff that we have hired will teach a couple hours a week and then go to half time, so there is a payment. But a problem with hiring instructors on an hourly basis is that it is generally after school hours, and if they are holding a regular 9-to-5 job, they can’t work for us part time. So we are trying to figure that out and find ways to provide opportunities for people to contribute to the community through our program. Samuel Aguiar Iñiguez: I have just one more comment. If they are from Americorps and Vista, maybe, instead of volunteers, you could go through student-loan centers and maybe pay student loans off until they get paid. Charles Lewis: Which they do with Americorps and Vista, for sure. Paul Flores: I liked the description of your organization. It sounds very similar to the way we have structured Youth Speaks. Youth Speaks is an all-artist-run organization. All of the staff members are practicing artists—performers, writers, mentors—and our budget has grown also to over one million dollars in less than 10 years. At this point, we are discovering the problems of a limited infrastructure. Where you have young people—everyone on the staff is under 40, with some members of the staff only 15 years old and some 36—we are discovering that we are having infrastructure problems because of the amount of creative control we do give our staff members. What I want to ask Charles is: Do you give staff members creative control of their programs? Do they have the responsibility to develop these programs, and are they accountable for the success or failure of these programs? In my organization, we have kind of a supervisory style. Between the programming and education functions, there are directors, and they supervise certain staff members, but, at the same time, it is artists supervising artists. And artists—we’ve got great ideas. We are wonderful at coming up with programs. We can program until we are blue in the face. But we are not good at balancing budgets. We are not good with finances. These comments are generalizations, but as someone who has worked in nonprofit organizations for 10 years where I have creative control, I continue to have struggles with budgeting—figuring out who to pay and how much and da, da, da, da, da. So what ends up happening is that this creative control bleeds over into a lack of financial control. When that happens, there seems to be a kind of split—a conflict within the organization’s leadership about what decisions need to be made and who is accountable. If I am the program director and my program ends up $15,000 to $16,000 over budget, that’s my responsibility. Yet, at the same time, my executive director signed off on the budget and watched as more of it grew. What I am wondering is, as someone who is also in an organization that is growing rapidly, how do you plan on handling those types of issues when you give creative control and that control gets out of control to a certain extent? Charles Lewis: So far, we haven’t had any problems with it because there is just one checkbook, and I am signing the checks, so there isn’t the possibility of running over budget, and we are just making do with the funds we have. I think you make a good point that, when the organization grows, there are going to be some potential problems, but I think it is a good exercise for artists and non-artists alike to go through and balance the revenues and expenses. In our programs, we can’t have 86
expenses without the revenues. We don’t have a slush fund or anything like that, so we just have to stay under budget or the program won’t happen. Right now, we just don’t have a whole lot of options, but it is a good thing to prepare for the future as we get larger. 87
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The New Face of Arts Leadership in
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The New Face of Arts Leadership in
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Table of Contents (continued) B. Th
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Introduction By Len Edgerly The New
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Symposium Participants The informat
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Keynote Address: Diversifying the F
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So, leadership has a much different
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directly visible. Sometimes, change
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as storytellers, keepers of cultura
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tonight. Can you talk a little bit
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are we talking about? Is it in the
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8 Craig E. Johnson, Meeting the Eth
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Ming Luke: My name is Ming Luke. I
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am really more interested in social
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scholarship is computer-mediated co
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“Which is the path?” for the Ze
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up to me and asking me who is going
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Saturday—I am not certain that we
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e that leadership and be in control
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Topic One: Language as it Relates t
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mainstream. I want them to destroy
Page 49 and 50: Ganbold Presentation This text is a
Page 51: assertions are an effort to avoid l
Page 54 and 55: eal people.” Everybody is “the
Page 56 and 57: videos—How to Remove Birch Bark,
Page 58 and 59: Meaning does not lie solely in the
Page 60 and 61: culture. In that scenario, my audie
Page 62 and 63: show me the way to be the most humb
Page 64 and 65: 3 Helen Dick, How to Remove Spruce
Page 66 and 67: its celebration of the new year fro
Page 68 and 69: Response and Discussion Shane Morem
Page 70 and 71: month, they work together and learn
Page 72 and 73: In February, we are having a gather
Page 74 and 75: 120 events per year, and they have
Page 76 and 77: a leader and you have an incredible
Page 78 and 79: or anything like that, but building
Page 80 and 81: ut we have to help them help us und
Page 83 and 84: Topic 3: Leadership Styles in Ethni
Page 85: ut what we are trying to do is exer
Page 88 and 89: traditional leadership. There are m
Page 90 and 91: she wanted to get married. What doe
Page 92 and 93: I think that it is very important t
Page 94 and 95: We also have students on our board
Page 96 and 97: think about sustainability, to thin
Page 98 and 99: Ideally, when an institution needs
Page 103 and 104: Topic 4B: Emerging Leaders in the A
Page 105 and 106: opment programs to help them move f
Page 107 and 108: to say “no” and learn to say
Page 109 and 110: complained about lack of support, b
Page 111 and 112: Summary and Final Comments Shane Mo
Page 113 and 114: When we were talking about language
Page 115 and 116: I am a historian and an anthropolog
Page 117 and 118: am using the analogy that we all ca
Page 119 and 120: We have to foster and mature young
Page 121 and 122: List of Preliminary Readings on Lea
Page 123 and 124: References and Works Cited Aguirre,
Page 125 and 126: West, Kanye. “Heard ‘Em Say.”
Page 127 and 128: Symposium Process and Agenda About
Page 129 and 130: Participants’ Biographies The bio
Page 131 and 132: her third City of Los Angeles Artis
Page 133 and 134: the Metropolitan State College of D
Page 135 and 136: Shandiin Sunrise is creatively buil
Page 137 and 138: Symposium Observers Lucero Arellano
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