Spending Resources & Building Audiences

This past September when the Artistic Director for The Carolina Actors Studio Theater, Michael Simmons came to Buffalo to take in a production of ART's Floyd Collins, he told me something insightful about the way he runs his theater's marketing and promotions. 

"I get $500 per month to spend on marketing," Simmons said while being interviewed for the Voices of WNY Artists Internet Broadcast. "I chose to return that money back to the theatre." 

Amounting to $6,000 per year, I promptly questioned why he would chose to return this opportunity to promote his productions.

Simmons pointed out the number one source of advertisement that gets folks into the door is simply word-of-mouth. 

In addition to this approach, a local well-known restauranteur once told me that when starting up a food-business that you should invest $1,000 in initial promotions to get the folks into your place and let word-of-mouth take care of your advertisement from on out.


So, its not the shiny package; its what is inside. 

Fast-forward to February 2012 and while driving on the 33, I spotted a billboard for a local theater's special event/fundraiser  First thought that popped into my mind was "that's expensive" and then a trickle-down thought was "where did they get the money for that considering everyone is bitching about how strapped they are in the wake of Erie County budget cuts and a weakened economy." 

Was this a line-item in the budget approved at the beginning of the fiscal year, or was it a sudden windfall of cash that enabled the theater to take out a high-profile billboard on a highly trafficked road.

If its the latter, I understand sometimes a show brings in a couple of extra dollars and a quick decision is made to promote a future show or event with this surplus money. Of course, the shrill hoot of Michael Simmons is being heard in North Carolina, but, each company has its own way of spending resources and building audiences. 

Spending resources and building audiences.

Realistically, and contradictory to Simmons, an Arts organization has to divert a portion of its revenue into some form of marketing or publicity. This investment can come in the form of postcard and posters while other expensive advertising outlets include the dead-tree media, radio and/or online sources. 

WNY cultural organizations cannot rely on the local media sources to consistently give previews of works and productions, so inline with what the restauranteur said, there has to be an initial push to get folks interested in the work and through the doors. After the show, providing its good, these folks will go out and tell their friends to catch the production. 

In 2009-10, the American Repertory Theater of WNY spent about $482 in snail-mail postcards, posters, brochures and other marketing items. Budget constraints or windfalls did not allow ART to do any additional beyond-budget promotions or marketing for the remainder of the season. 

Comparatively, more established theater companies invested a higher amount of resources into marketing, publicity and advertisement. The amounts gathered through 990 statements on Guidestar indicate these companies, despite being in the middle of a "budget crisis" show a considerable amount of money given towards advertisement. 

In the 2009-10 fiscal year, the less-established Road Less Travelled spent $17,366 in 2010 on marketing, publicity and advertisement. Conversely, two heavier hitters in the WNY theater community, Musicalfare and Irish Classical Theatre Company spent, $66,495 (Musicalfare) and $67,766 (Irish Classical) on these budget items. 

Against those numbers, smaller companies and independent artists cannot compete for the public's attention. Leaving them to rely on less-reaching social networking, email blasts (most likely blocked as spam), posters (with a two-day shelve life) and other highly resourceful yet inexpensive means of promoting productions. 


What can be done?


Cultural organizations have popped up in Buffalo claiming to be an advocate for the Arts in WNY. These groups could create a "bulletin board" ad for local media sources. 


For example, the Theatre Alliance of Buffalo (TAB) requires members to place a comprehensive group schedule in their programs so patrons see what other companies are doing. Its effective because it draws attention to other productions and may send these patrons to see the work. The downside is that one has to be a member of TAB to reap this benefit, but the template could be used for other organizations. 


Unfortunately, as of 2012, none of the cultural agencies have taken the initiative to create a promotions program for smaller companies and independent artists.


Greater Buffalo Cultural Alliance boasts on the website "proud to represent the community of WNY" but does not offer any means for small companies or artists to promote upcoming works. It does list the steering committees members with web-links, but no other sources of promotion are sighted. 


The newly formed Arts Initiative Services of WNY has a Facebook page that folks can post information they've already pasted on their pages, but haven't seen any opportunity offerings for companies or artists for dead-tree, online or radio media.  


The playing field remains uneven.


Ultimately, a theater company or arts organization has every right to reap the benefits from a successful season, a well-planned fundraiser or community donations based on reputation, and spend this money in whatever way it sees fit. 

The question of fairness comes into play only when funding comes from public or independent fundraising groups relying on donations given in a random manner. 

In a balance process, public money or donations from independent organizations, for example, Give for Greatness, should result in an equal share of this distribution. Each company receives "X" amount (nothing more or less), and they can spend the gift in whatever manner best serves the company. 


Another process needs to be implemented is lesser-than companies and independent artists receive a bigger portion of funds to, at the very least, be on advertisement par with their contemporaries. 

By getting funds reflective of their established peers, to be strictly spent on marketing, advertisement and promoting, these companies will have a greater opportunity to become more visible and increase ticket revenues. 

This would be the first step in leveling the playing field and add more diversity to WNY's cultural scene. As for the bigger economic picture, the broadened range of entertainment could act as an economic catalyst, in terms of generating cultural-tourist dollars, and stimulate growth for both private and public sectors. 


Not sure if this could become a reality. 


Foundations look to reputation and familiarity, Public money follows the same route and independent fundraisers will implement some formula that benefits those with bigger budgets. 


Who truly suffers in this disparity are the actors and designers who put in hard-work and effort to present top-notch theater only to find small houses as a reward.  There are great productions are being overlooked because the of the lack of funds to market the work in a broader means. 


Indeed, Michael Simmons has a point in saying word-of-mouth is a powerful tool in promotion. Simply allowing smaller companies the same promotional opportunities to bring in more "mouths" isn't some difficult paradigm shift. 

It just takes the vision to see that this region benefits when the "Haves" include the "Have Nots". 

Finally...Transparency

Better late than never.

Through a posting on regional arts advocacy group's, Empower Arts Buffalo, social network page, a representative from the Theater Alliance of Buffalo provided a link to the Greater Buffalo Cultural Alliance's detailing the rationale behind recommending cash-strapped cultural groups that should receive a portion of the recent $430,000 The Fund for the Arts donation .Although the FFA press-release associating the donation and the GBCA is dated February 28th, the information was finally made available to the general public as of March 16th.

This rationale behind how GBCA qualified potential recipients is relatively precise and generally lays out the mathematical equation into how a cultural group was to receive this one-time donation. Making clear GBCA executed this process fairly, the release says "Every organization on GBCA's list received a Erie County contract...whether it was a reduced amount or received zero payment." Stressing to those seeking clarity, "All organizations thus defined were included regardless of whether or not they were members of GBCA."

And so the process of whom was included is defined.

The GBCA press-release details the mathematical equation of how the money was allotted based on a 20% reduction "across the board" of what may be considered money Erie County was supposed to have provided via contract to selected cultural groups. This was to fall in line with the proposed $600,000 originally slated for the donation. This ultimate figure was determined by how much a cultural group stood to lose with Erie County funding and we are left to understand this amount was presented by those who were appealing for a piece of the donation. 

Additionally, the GBCA determined the allocated amounts based on "organizations actually received funding in 2010," the GBCA "used that actual (lesser) figure."Other mathematical methods of determination included the GBCA, in cases where the cultural group's amount was zeroed out, "we used the Legislature's approved (not vetoed) amount." 

GBCA also considered when the "Legislature's approved amount was way of whack," the steering commitee "went back to 2009 actual funding or for new applicants used 50% of the Legislature's approved amount."

And so the mathematical equation of who was getting what was determined.

Although the press-release issued by The Fund for the Arts (FFA) was on February 28th, I have to congratulate the GBCA for finally rising to the occasion and presenting something of transparency with this matter. And good for the GBCA for stressing that the decision of who was to receive funding wasn't based on membership but by who was under contract with Erie County for 2010 funding.

Of course, the question of who was in charge of assembling the list of those who were under contract is begging to be asked. 

Did the GBCA request from Erie County a list of cultural groups who were targeted for cuts and in turn present a survey or some other source of notification of this process?

That is unclear, and the GBCA does not list the groups who received funding from the FFA. The website provided by FFA detailing the list of recipients is not in service as well. As for the mathematical equation, who was in charge of this? Did the GBCA hire a public accountant and was this notarized? Or did a handful of GBCA steering committee members determine the allocation for 32 cultural groups?

One item that does remain clear is the curious final note of GBCA's press-release indicating the Artvoice Give for Greatness campaign "is using another process entirely." Emphasizing that "other organizations not previously funded by Erie County or recommended for funding by ECRAB or Legislature" will be included in the funding process.

One may be incline to see this statement as a indication those who were in charge of making the decision of which groups got money recognized that some groups, regardless if the groups were under GBCA membership or Erie County contract, would be purposely left out of the loop. This recognition faintly reflects a sentiment that those left out would have to fend for themselves or find other sources of funding faintly resembling Chris Collin's directives.

Despite this cynicism, the GBCA's efforts to at least piece together their idea of a rationale explanation is a good thing for the overall cultural group community because it gives some much needed creditability to all involved.

Once credibility is established then perhaps there can be greater recognition and, ultimately, restoration of funding for ALL members of the Artistic Community.

430,000 Chunks of Bread

Manna from Heaven.

The blessed Israelites received this food from God's merciful grace as they trudge onwards in the great Exodus. The white flakes were supposedly honey-like in taste and gave the noble Jewish tribes a lifeline to keep moving forward in their great quest.

A lifeline.

In a recent The Buffalo News article, Greater Buffalo Cultural Alliance spokesperson, Randy Kramer, said of the recent $430,000, manna from heaven, donation to help reeling cultural groups, as a lifeline."This very good news. For some groups, this is a lifeline."

Does this mean that "some cultural groups" were on the verge of perishing?

Not perish but, as Saul Elkin of Shakespeare in Delaware Park (despite the looming budget crisis recently held auditions for the 2011 season), said in same The Buffalo News article, put the ability to have a theater season, or any other artistic event, "on hold".

So with a heavy thunk of 430,000 chunks of falling bread, the season for SDP, and 31 other selected cultural groups, was saved by a group of 12 foundations including the Community Foundation for Greater Buffalo, Magaret L. Wendt, the Baird and Oishei.

Why the generous move by these community fondations?

According to president and CEO of the Community Foundation for Greater Buffalo, Clotilde Perez-Bode Dedecker, this one-time group donation was to insure groups, who's budgets were effected by Erie County Executive Chris Collin's recent cuts to the Arts, had enough funds to "think through their immediate situation without having an immediate budget crisis."

Although Dedecker points out the groups understanding of the intrinsic value of Arts in the community, she does not list who best represents these values. Instead the Community Foundation for Greater Buffalo relied on the Greater Buffalo Cultural Agency to put together a list of those deserving of this "lifeline".

The GBCA, in turn, presented a list of 32 cultural groups targeted for this manna. The process is unclear in how this group determined who made the list. There is mention of some groups who were to receive a portion of this donation, but the article does not say how these groups got the money.

The GBCA's website make no formal announcement of this award or details the process of how they assembled a list. Shortly after the The Buffalo News article came out, I sent an email to GBCA's contact page and have not receive a reply to explain this process.

So how did GBCA determine who made the list?

Several beneficiaries listed in The Buffalo News article, including SDP, Ujima Company, Just Buffalo Literary Center, and the Locust Street Neighborhood Art, are GBCA members. Was this a determining factor in being considered?

The lack of transparency on behalf of GBCA indicates there was no formal process but simply those with the connections to the group's steering committee had the opportunity to present their case for receiving money. Essentially, anyone outside this group was not included in the process. No surveys, no notifications, no emails or formal meeting were presented by the GBCA to indicate there was a process of determining who may be entitled to this funding.

I'm not sure this is what the community foundations wanted with this donation.

The 12 foundations believe in cultural diversity as indicated by Ms Dedecker, "The foundations earnestly value the great diversity of the arts and cultural organizations in our community," yet is diversity the true measure of who deserved the financial boost or was it simply those with reputation and a loud representative voice to carry their message.

What is truly troubling is that with the great efforts of Artvoice's founder, Jamie Moses, and his Give for Greatness, funding, those who are already receiving a portion of the $430,000 are lining up to receive a percentage of this campaign.

Fortunately, a reliable source informed me there has been some balance added to the committee overseeing this distribution, and objectively look at which groups are in true need of a financial boost. This will potentially moderate money flow to more established cultural groups who claim to have bigger financial needs than smaller ones.

Overall, this recent 430,000 blessing strikes me as another example of "have and have nots". Where those part of Cultural Advocacy group inner circles or steering committees have the representative voice to put their hands in the air and shout for their Lion's share. Whereas groups outside these circles, or those who may be members but cannot attend meetings, do not have the opportunity to be heard.

Whether or not this is intentional remains up to debate.

What truly should happen with these Cultural Alliance/Advocacy groups is the replacement of cultural group Artistic/Executive directors, who administrate steering and planning committees, with objective, non-cultural, business people. In turn, these individuals can oversee decisions and direction based on sound business decisions, responsibility, vision and transparency that benefits all cultural groups.

Arts community members can still be involved but the conflict of interest dominating the present process would be eliminated. Instead, to influence decisions, these members would have present sound presentations and provide clarity into initiating programs that will benefit all groups and not just their organizations.

A prominent business leader said of these organizations, "I can't act, so don't put me on stage. What makes these Arts people think they can be Business people?"

Does he have a point?

Perhaps.

What he should say on behalf of these Cultural Groups is "practice what your preaching" and be more concerned about what it means to support Arts in the community and not supporting one's art to live in the community.

Matthew LaChiusa is the Executive/Artistic Director for the American Rep Theater of WNY. His proudest accomplishment was working up from a waiter to a manager/wine steward positon at a prestigious Baton Rouge steakhouse.

As of 3/3/2011, GBCA has not posted information on their website or returned email

No Goal; Wide Right; Civic Identity?

Out of the mouths of babes.

Last month as the World Junior Hockey Championships were underway in Buffalo, the Forward for Team America, Emerson Etem, tweeted this about the city, "Buffalo is a ghost town!! The worst city ever, it makes Medicine Hat look like paradise, never thought ide say that."

After this tweet went public and the city and media went ballistic, Etem was prompted to post an apology to his hosting city and the denizens citing weather as a reason why people don't come out.

So the kid said something stupid on a social network site primed for folks who love to blurt stupid things out into public light. My only concern with this is why is a teenage kid worried about his nightlife being exciting when he should be focusing on winning a Gold Medal for his country? Guess it clearly explains why Team America got trounced by the Canadians.

But does Emerson Etem have a point? Does Buffalo give outsiders the impression things close-up at 5:00 PM?

Or is it a matter of the city's and, in greater extent, Erie County's inability to market the vast amount of cultural offerings on any given night, great restaurants & a diverse music scene to visiting folks, regions beyond WNY and even to the people who call this town home?

I recall a conversation I had with a couple from Central New York. They were staying at the same bed and breakfast in Lewiston and over a wonderful breakfast we began to chat about the Shaw Fest theater offerings and how they enjoyed coming to Lewistown for the performances, the shopping and the great restaurants.

I never forgot their blank expressions when I asked them if they've ever checked out Buffalo and enjoyed the same amenities provided by the Canadian counterpart.

"We didn't know Buffalo had a theater scene." They said.

"Oh sure!" I said, "We also have some of the best restaurants, great shops and about 18 theaters to choose from." I also mentioned Buffalo attractions including architecture, art galleries and a world-class orchestra.

They innocently replied, "Gosh, we didn't know Buffalo had all that stuff."

Not from the mouth of a babe, not from a cynical homer and not from a myopic Shawphile. This came from an open-minded, older couple who actively seeks cultural destinations.

And, of course, the question then becomes, how many of these couples choose to go to places like Toronto or the Chautauqua Institution because they don't know that Buffalo has all this cultural "stuff"?

There are numerous online resource sites for inquiring tourists including the Buffalo/Niagara Convention and Visitors Bureau, Greater Buffalo Cultural Alliance, Theatre Alliance of Buffalo and several other grass-roots informational websites. Anyone can punch "Cultural Activities in WNY" into Google and will get an assortment of events, so why isn't this doing enough to create that great cultural tourist economic engine for the region?

In most "destination cities", there is a civic identity. This could be a distinct music scene (Austin), food culture (New Orleans) or a vivid Cultural scene (Toronto). Some cities are known to host international festivals that generate millions of tourist's dollars for local businesses. The best of them have all of these distinct qualities roll into one. In turn this identity builds civic pride felt by each resident and aids in the selling of their cities to outsiders.

In the past, Buffalo & Erie County have attempted to create civic pride:

To the most recent Buffalo Niagara Convention and Visitors Bureau video promoting the 2011 National Preservation Convention to be held in Buffalo:

Both presentations do their best in creating feel-good images of Buffalo, and to a certain degree indicate individual pride in a city as well as identifying city qualities, but where do these presentations indicate where Buffalo stands as a community and where the community's passion lies? Eventually begging the question in what does Buffalo truly believe in?

Buffalo has tremendous assets. UB 2020, although may be shelved, is a brilliant plan in creating jobs and supporting a top-notch educational institution, The Medical Campus is world-class with advanced research and the commercial exportation of these medical finds, and even US Congressman Brian Higgins' diligent efforts in creating an engaging and practical Waterfront, contribute to the makeup of this city's positive qualities. But how are these great attributes and many others, including a rich cultural scene, being integrated into the bigger picture and how are these resources being utilized?

That is the multi-million dollar and the good-paying job creation question.

The answer simply may be that all these educational & medical institutions, businesses, cultural groups need to become more interrelated and gain greater appreciation of the value each group provides. This comes from a cohesive message and economic plan that unites & strengthens all of Buffalo civic assets and, ultimately, creates a city identity.

Once this great meeting of all groups occurs and there is an agreed united message with a comprehensive economic plan, then all those feel-good video promotions and informational websites not only generate that elusive tourist dollar but keep that investment in the community for now and future generations.

Isn't that what legacy about?

Otherwise, young hockey players who punch into Google to see what's happening in Buffalo will get this:

Matthew LaChiusa is the Executive/Artistic Director for American Rep Theater of WNY. He is dedicated to the preservation of cultural groups and how they can benefit the community in both civic and economic growth.