This month, we’re exploring how nonprofits are using “change capital” to invest in organizational transformation and thrive in the long-term.
I’ll be one of 8 guests at WESTAF’s annual Dinner-vention! In this briefing paper, I share my perspective on how we should talk about broken models.
Cleveland Public Theatre and members of the Latino community formed Teatro Publico de Cleveland, an amateur ensemble theater company that created space for meaningful dialogue and new, powerful performances.
This is my story of how I turned a longtime practice of visual art into a powerful tool for organizational change at Alternate ROOTS.
This is one facilitator’s perspective on the power of a visual metaphor to help a group gain clarity during difficult change work.
Springboard for the Arts responds to our August topic about adaptive boards with an awesome photo essay. They rock!
In order to invigorate their renewed vision of service and community partnerships, San Francisco Symphony developed Community of Music Makers, a platform of activities designed to support, encourage and sustain amateur music-making by adults in the Bay Area.
How do non-profit boards cultivate an organizational culture that embraces change?
Participating organizations will design and prototype innovation initiatives and tackle field-wide challenges in the Innovation Labs for the Performing Arts and Arts Development Agencies.
How did Denver Center Theatre Company apply Off-Center’s Curation model to its mainstage programming?
In this conversation, Richard Evans and Karina Mangu-Ward of EmcArts discuss some of the key issues stemming from the ongoing conversation about whether or not “we should allow failing arts organizations to die.”
Announcing the first cohort of New Pathways | Alaska, a new program developed by EmcArts, the Foraker Group, Rasmuson Foundation, and Alaska State Council on the Arts.
EmcArts now offers new programs geared for organizations interested in working on their own — rather than in a national or local cohort — to increase their adaptive capacity.
At this year’s AFTA convention, I interviewed arts leaders to get a sense of the challenges they are facing in their organizations and local communities.
How can a youth orchestra break down ethnic, religious, and language barriers to create opportunities for meaningful cultural exchange?
How are organizations creating participatory artistic programming through collaborative processes with their audiences?