When adopting a CRM system, especially as a young organization, it is often better to enter the process with a view that focuses less on the expectation of immediate business returns and more on making an investment in the future. Indeed, even the implementation of a user-friendly system like Artful.ly or PatronManager will likely involve significant staff-hours to clean data, transfer files, and train users. During a recent series of interviews conducted with nano-nonprofit administrators either on the verge or in the midst of CRM implementation, ensuring that this huge productivity drain is a one-time occurrence and not a recurring nightmare emerged as a common concern.
As performing arts organizations strive to increase diversity among their audiences, assistive technologies provide an opportunity to create more inclusive environments. But what is assistive technology? How do arts organizations currently use it? What is preventing organizations from providing assistive technologies in their venues? Where can organizations find support? Assistive Technology in Performing Arts Organizations, the latest paper in the AMTLab publication series, addresses these and other questions, and presents findings from a national survey of arts organizations on the use and management of assistive technologies.
If your organization is interested in exploring the integration of MOOCs and educational programming, one of the easiest ways to understand the concept is by experiencing a MOOC yourself. Intrigued? Check out this short list of MOOCs recommended for arts managers.
Many arts organizations want to improve the functionality of their boards. But it is impossible to know areas of board strength and weakness if the experiences and efforts of board members are not understood. Whether feedback is gathered from an online assessment, an electronic survey, or both, the resulting information can be compiled and shared at both the next Board meeting and on the Board portal, potentially sparking a candid and engaged discussion about the optimum path toward improving board engagement, motivation, and performance.
Just what is an online audience? How does it differ from an offline audience? How does participating in the arts through electronic media and online channels relate to the attendance of arts events? Moreover, exactly what (and how) are symphony orchestras using these digital technologies to engage with individuals around the world?