Impressions of Brown County: An Evening of Art, Music & Storytelling

March 12, 2015 | 7:30pm | Brown County Playhouse

hohenberger-smallInspired by the extraordinary artistry of the region, the Brown County Playhouse, Project Jumpstart, and Jacobs School students are developing an innovative project that uses iconic early 20th Century photographs of Frank Hohenberger to generate new works by composers, musicians, and young visual artists.

The collaboration between young art students from Brown County, ensembles New Voices Opera and Novacane Quartet, composers in the IU Jacobs School of Music, and storyteller Paul Whitehouse, will culminate in a showcase event at the Brown County Playhouse on March 12 at 7:30pm. The evening will include a viewing of new art by students of Karena Sarber, Andi Bartels, and Natalie Van Zuiden, as well as premieres of musical works by Louis Goldford, Curtis Smith, Matthew Recio, and Javier Ledesma.

Tickets for the event, available at the Brown County Playhouse Box Office, are $12 (general admission,) and $8 (students, seniors, and members of the military.)

Photographer and newspaperman Frank Hohenberger spent forty-seven years recording the life, customs, and scenes of the hills of Brown County, with side trips and hired assignments in other areas of Indiana, Kentucky, South Carolina, and Mexico. Thousands of images taken from 1904-1948 of landscapes, buildings, and people testify to Hohenberger’s belief, recorded in his diary, that “pictures speak the only language all mankind can understand.”

The photos for the project have been provided courtesy of the Indiana University Lilly Library. Over 9,000 of Hohenberger’s photos have been digitized and are available online as the Frank M. Hohenberger Photograph Collection.


THE PARTNERS

Brown County Playhouse The Brown County Playhouse entertained its first audience on July 1949. For more than 61 years, the Playhouse was owned by Indiana University Foundation and operated for the benefit of IU Theatre Department. In 2011, the IU Foundation handed over the keys to the Playhouse to the Brown County Community Foundation. A local group of professionals formed Brown County Playhouse Management, Inc. to manage the facility. The Playhouse doors are open once more, offering a diverse selection of performing arts year round.

New Voices Opera is dedicated to promoting American contemporary opera by performing emerging composer’s works. With a fully staged and orchestrated opera production in Bloomington each spring and several training programs and workshops throughout the year, the organization provides invaluable performance and growth opportunities for young artists and student musicians.

Founded in 2014, the Novacane Quartet aims to elevate the clarinet quartet and its repertoire to an artistic level. By exploring new genres of music, commissioning new works, and collaborating with artists of various disciplines, the Novacane Quartet seeks to present interesting art to new audiences.

Storyteller Paul Whitehouse is a Chicago based performer and teaching artist. His original stories have been featured at This Much is True, Paper Machete, Hump Night and Chemically Imbalanced Comedy Theater.  As an actor, he has performed on stages in Chicago, tours the country with Child’s Play, and can be seen in student film, webisodes, and web commercials. As a teacher, he spends his summers with General Theatre Studies, Goodman Theatre’s teen intensive program, and he has developed curriculum and teaches for Child’s Play Touring Theatre.

IU Jacobs School of Music’s Office of Entrepreneurship and Career Development, provides expert guidance, resources, and a wide variety of events designed to empower Jacobs School of Music students as they prepare for careers in music and dance. Through the student-led initiative Project Jumpstart, the program offers entrepreneurship workshops, networking events, student competitions, {well-advised} lunches, and residencies by prominent arts entrepreneurs. For more information and a list of upcoming events, visit music.indiana.edu/oecd.

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Breaking Into The Profession, Session III | YOUNG ARTIST PROGRAMS FOR VOCALISTS

Young Artist Program Stage Shot

WITH KEVIN MURPHY (JSoM) AND BRADLEY MOORE (Houston Grand Opera)
Saturday, February 28, 12:30-2pm | Music Library, M285

Click here for more info on sign up and live streaming options >

 

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Amanda Sewell: Jumpstart Entrepreneur of the Month

Picture of Amanda SewellMeet Amanda Sewell, Project Jumpstart’s
February Entrepreneur of the Month!

With extensive research published in peer-reviewed publications, such as the Journal of the Society for American Music, Cambridge Companion to Hip-Hop, and the Journal of Popular Music Studies, Amanda Sewell is a musicological force. She’s also a highly motivated entrepreneur and has developed a thriving editing and consulting business, in The Write, that focuses on academics and documents related to scholarship, research, and higher education.

Project Jumpstart recently caught up with Amanda to discuss her work and her insights on the variety of career options available to students with a rigorous academic training.

Click here for the Interview >

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Culturally Impoverished: US NEA Spends 1/40th of What Germany Doles Out for Arts Per Capita

10 countries that leave the US in the dust on funding the arts.

By Jodie Gummow / AlterNet

shutterstock_106550747In the United States, government expenditure for the arts remains minuscule when compared to the amount of money the government spends in other areas of the public sector. Federal funding to the National Endowment for the Arts (NEA), created by Congress to offer support and funding for art projects, remains static at $146.2 million a year, with a measly annual budget of $158 million.

To put that into context, the government has disbursed over $245 billion bailing out banks and financial institutions. The National Science Foundation’s annual budget sits around the $7 billion mark, despite the fact that research shows art studies close the gap between high- and low-income students and not only improve numerical skills but promote creativity and social development.

In 2011, art funding in the United States reached a record low following the financial crisis. The 2013 National Arts Index revealed art spending made up just 0.28 percent of the government’s non-military budget in 2011, with local government spending also dropping by 21 percent over that time. The percentage of American households donating private funds to the arts also declined by almost 9 percent.

Such figures are symptomatic of our free-market, capitalistic society. Contrast that with the European model, where art is not viewed as a commodity but as a universal birthright to be protected and celebrated. In the spirit of reviving art funding and our perception of culture on our home soil, here is a list of 10 countries that fund citizens to pursue artistic endeavors.

1. Germany: Germany’s cultural budget was approximately $1.63 billion USD in 2013. According to Ian Moss, research director of Fractured Atlas, Germany’s art funding in 2007 equated to roughly $20 per German citizen, which “dwarfs the 41 cents per red-blooded American provided by the NEA. What artist wouldn’t want to live there?” Moss told Huffington Post. Since the 1970s, Germany has implemented a federal program for art purchases and the collection of contemporary art in a bid to support artist organizations and bodies. In fact, publicly funded cultural institutions are used to educate people to promote interest in art. In 2013, the German culture budget rose by 8 percent even despite an overall federal budget decrease by 3.1 percent.

2. Northern Ireland: The Arts Council of Northern Ireland announced it will award over £13 million ($21 million USD) to arts projects through northern Ireland, including theater and literature for its tiny 1.8 million population. The Arts Council is the development and funding agency for the arts in Northern Ireland. It distributes public money and National Lottery funds to develop art projects and events throughout the country for both individual international artists to perform in Ireland as well as organizations.

3. France: France has always had a vast appreciation for art and culture, which it considers almost holy. Home to some of the most prominent art displays in the world, French museums generate over 20 million viewers a year. The budget of the French Ministry of Culture for 2013 was close to €7.4 billion ($10 billion USD) with €3.5 billion ($4.73 billion USD) dedicated to the cultural field alone.  Despite such a large distribution, these figures actually represent a 2.3 percent drop in art, which has prompted protests and strikes across the country in recent times.

4. Sweden: The Swedish Arts Council is a government authority that implements national cultural policy by allocating generous funding to performing arts, music and literature. Every year, huge sums of public money are dished out to punk rock and indie music bands, which American Republicans have criticized. In 2011, the Swedish government spent 2.60% of its central government spending on culture alone. The Swedish Arts Grant Committee allocates approximately 100 million SEK to the arts ($15 million USD) for its modest 9 million people. Moreover, the Nordic Culture Fund supports artistic and cultural cooperation between all the Nordic countries. The fund goes a step further, even supporting architecture, design, visual arts, performing arts, film, literature, music and multicultural projects.

5. Australia: In Australia, government expenditure for the arts and cultural activities in 2011-2012 period was estimated to be approximately $7 billion for a population of only 22 million. In 2013, the Australia government confirmed an additional $75.3 million in funding over four years to support Australian artists and art organizations. The government supports the arts in Australia through a number of programs including arts training bodies, music, film festivals and also includes radio and television. Each state in Australia has an Arts Council that provides the majority of funding. In 2008–’09, cultural funding by all three tiers of government averaged $311.77 per person in Australia.

6. Finland: In Finland, the Ministry of Education oversees arts and cultural funding and directly supports individual artists through extensive cultural and professional training schemes supported by the central government. In 2011, government expenditure on culture was €33 million ($44.61 million USD) for its 5.3 million citizens with €14 million ($18.93 million USD) spend on individual artists alone. Remarkably, Finnish visual artists are entitled to receive a five-year salary paid by the Finnish Art Council.

7. England: TheDepartment for Culture, Media and Sport (DCMS) is responsible for the arts in the United Kingdom, funding art through Arts Council England, which merged with other arts boards to distribute grants and National Lottery funds to support “good causes” in the arts. At present, the National Lottery has provided a benefit of £165 per person ($269 USD) in London compared to £47 per person ($76.64 USD) for the rest of England, which has angered British residents about unfair regional distributions. In 2012-2013 alone, DCMS funded 16 major national museums and galleries totaling £447 million ($728 million USD) according to The Conversation.

8. Uzbekistan: In 2004, the Forum of Culture and Arts of Uzbekistan Foundation was established and is the largest public organization in Uzbekistan dedicated to reviving and funding the arts. The Forum provides financial support for young talent and craft dynasties and has generated increased international support with offices all over the world including Moscow, Beijing and Paris. The group organizes annual festivals like the Youth of Uzbekistan Festival of Fine Arts and joint opera concerts, which generate major public participation. Even during the Soviet period, the government gave extensive support to the arts, built cultural centers and paid the salaries of professional artists. Unfortunately, government censorship issues have impacted various art projects, which have restricted most art festivals to the capital of Tashkent. Nonetheless, the fund continues to organize state-endorsed exhibitions and support its artists.

9. Mexico: Mexican artists can pay their taxes with artwork in an “art-for-amnesty” type exchange, according to USA Today. Since 1957, the Mexican government has offered artists a deal where if they are able to sell five artworks in a year, they can offer the government artwork in lieu of tax payments. Under the scheme, the government displays the art in museums and government offices and loans them out for special exhibitions. Participants must register with the Tax Administration Service and submit their work to a jury to prove they have actually shown or sold artwork. To date, there are around 700 artists registered and the Mexican government has amassed 8,000 works of art.

10. The Balkans: The Balkans Arts and Culture Fund (BAC) provides funding for the arts with a view to strengthening and promoting artistic cultural development in the Western Balkans specifically to bridge broken relationships in the former Yugoslavia. BAC is financially supported by the European Cultural Foundation and the Open Society Foundations as well a number of other European cities like Amsterdam and Budapest which largely back the arts in their own countries.

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Jacobs School’s Kenari Quartet is Featured Ensemble on Performance Today

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The Jacobs School student ensemble, the Kenari Saxophone Quartet, will be featured for three consecutive days as Young Artists in Residence on Performance Today, American Public Media’s daily radio program.

Performances and interviews with the ensemble can be heard on Wednesday, Thursday, and Friday, Feb 11-13, as well as on the Performance Today website. Local public radio WFIU airs the program from 1-3pm and from 5-7pm on its HD-2 channel.

The feature follows the Kenari Quartet’s week-long residency at the Performance Today’s studios that included recordings, interviews with host Fred Child, performances in local public schools, and discussions with local college students about careers. A blog about the Kenari Quartet’s experiences can be found on their website at www.kenariquartet.com.

All members of the ensemble – Bob Eason, Kyle Baldwin, Corey Dundee, and Steven Banks – have been mentored by Professor Otis Murphy and others on the Jacobs School faculty.

“I am so excited about Kenari Quartet,” said Murphy. “They are wonderful both as artists and as individuals and they bring to the concert stage sincerity, charisma, passion and dedication. I wish them much continued success and I cherish the time I have shared with them as their coach and mentor.”

In addition, the ensemble has benefitted from the Office of Entrepreneurship and Career Development (OECD), as they continue to professionalize their activities. The OECD runs Project Jumpstart, a student-led initiative that supports career development through a variety of programs and events.

“Project Jumpstart has truly lived up to its name for us in the Kenari Quartet,” said Steven Banks, member of the ensemble. “The Jacobs School has given us invaluable professional guidance and provided us with great opportunities to ‘jumpstart’ our young careers. We are so thankful to have this incredible resource at our fingertips as we study for our degrees.”

As part of its Performance Today residency, The Kenari Quartet presented a concert to 900 public school students at the Nova Academy in St. Paul.

 

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Breaking Into the Profession:

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A SERIES OF FOUR SESSIONS ON
TRANSITIONING TO PROFESSIONAL LIFE!

Note: All sessions are available to Jacobs School students
{Free cookies, and juice at all sessions!}

SESSION I: PROMOTING YOUR IDENTITY

Dave Wallinga Saturday, February 14 1pm-3pm
Jumpstart Central MU011
Led by Dave Wallinga and Alain Barker. Bring your artwork with you!

SIGN UP HERE >

(Once you log in, click on Events, then Workshops)

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An international expert in branding, marketing, as well as digital and interactive design, Dave Wallinga will be in Bloomington to lead our first session on Breaking Into The Profession. He will focus on ways to establish your personal and organizational ‘brand’, covering things such as your target audience, what your audiences really expect, and how to best define yourself. This is a perfect session for all of you who are forming your own ensembles, building personal websites, and developing projects.

SESSION II: ENSEMBLES IN EARLY MUSIC

Saturday, February 21
1pm-3pm in the Music Library, M285
Led by Bob Wiemken, Joan Kimball, and Dana Marsh

SIGN UP HERE >

(Once you log in, click on Events, then Workshops)

joan-bob-80This session will be led by guests Bob Wiemken and Joan Kimball (founders of Piffaro, The Renaissance Band,) as well as Jacobs School faculty member Dana Marsh. Take advantage of this unique opportunity to discuss how ensembles can succeed in the ever-changing professional arena. This session will also be available live online through the Project Jumpstart website!

INFORMATION ON SESSION III AND IV
WILL BE ANNOUNCED SOON!

See you there!
Team JumpStart

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Well-Advised Lunch with Maria Newman and Friends

WellAdvised-Header-newman

A {well-advised} lunch with critically acclaimed composer, violinist, and pianist Maria Newman and colleagues

THIS WEDNESDAY! FEB 11 @ 12PM | JS415
SIGN UP HERE > (NOTE: Once you log in, click on Events, then Workshops)

Maria-Newman-150A unique opportunity to benefit from the wisdom and experience of award-winning American composer of classical music and a critically acclaimed violinist, violist and pianist.

Click here for more information about the Maria Newman and her activities at IU.

See you there,

Team Jumpstart

 

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Butterfly Dreams Jazz Ensemble Wins 2015 Innovation Competition

Innovation-Header

The Office of Entrepreneurship and Career Development (OECD) is pleased to announce that jazz ensemble Butterfly Dreams is the winner of the 2015 Project Jumpstart Innovation Competition and will receive $500 in production support. Led by Kathryn Sherman, the student team responsible for the project includes Evan Main, Hannah Johnson, Bailey Grogan, and Jacobs School Professor Pat Harbison.

Butterfly DSherman-150reams is an independent venture that bridges the gap between student life and the profession, by providing an opportunity to a group of talented young Jacobs School musicians to develop a professional ensemble under the guidance of an experienced faculty mentor.

“We are honored to receive mentoring and start-up money from Project Jumpstart,” said Sherman. “Butterfly Dreams has our first rehearsal this week and will record a short demo sometime in the next month. We are so excited to begin developing this ensemble!”

“Our deepest thanks go to the extraordinary Jacobs School students who put a substantial amount of time and effort into their impressive presentations,” said Alain Barker, director of OECD, “We’re also thankful to the wise and very helpful judges.” 

> Enjoy photos of those who presented at the competition!

On the judging panel were Donald F. Kuratko, executive and academic director of the Johnson Center for Innovation and Entrepreneurship at the Kelley School of Business; Ari Vidali, founder and CEO of Envisage Technologies; Miah Michaelsen, Assistant Economic Development Office for the Arts at the City of Bloomington; Melissa Dickson, director of development at the Jacobs School; and Jacobs School student Christian Purdy, winner of the 2014 Innovation Competition.

Speaking for the judges, Dr. Kuratko stated, “This year’s competition was a tribute to the Office of Entrepreneurship and Career Development at the Jacobs School as we witnessed some of the most innovative students with interesting and creative ideas from the world of music. We compliment all of the participants on a fantastic effort!”

2015 Innovation Competition Finalists

  • NEW VOICES OPERA, an organization that encourages composition and performance of new American opera through commissions, productions, education, and outreach (presented by Benjamin Smith and Olivia Savage).
  • MUSIC READING FOR DYSLEXIC STUDENTS, an app that aims to change the way music is taught to dyslexic students around the world (presented by Kaity Jellison).
  • TEMPO CONNECTIONS, a mobile app that changes the way musicians meet, collaborate, and create (presented by Marcos Chavez and Thomas Dougherty).
  • CLASSICAL CONNECTIONS, an organization that connects classical musicians with communities and organizations that lack access to the art (presented by Brynn Elcock and Steven Banks).
  • MUSICAL ARTS PROGRAMMING FOR RURAL ELEMENTARY SCHOOLS, a hybrid online learning environments for music education (presented by Lucas M. Finney).
  • TROUBLESOME GAP, a synergistic musical gathering at a unique and rustic artists’ retreat (presented by Andy Miller).
  • GIGGER, an app that makes music connections and collaboration a breeze (presented by Lenny Nicotra).
  • JOURNEY THROUGH SOUND, and organization dedicated to making meaningful music widely accessible through performance and dialogue (led by Deana Said).

Header Photo, from left to right: Donald Kuratko, Alain Barker, Miah Michaelsen, Christian Purdy, Kathryn Sherman, Melissa Dickson, Hannah Johnson, Ari Vidali, Pat Harbison, and Bailey Grogan.


The Office of Entrepreneurship and Career Development

The Jacobs School of Music’s Office of Entrepreneurship and Career Development provides expert guidance, resources, and a wide variety of events designed to empower Jacobs School of Music students as they prepare for careers in music and dance. Through the student-led initiative Project Jumpstart, the program offers entrepreneurship workshops, networking events, student competitions, {well-advised} lunches, and residencies by prominent arts entrepreneurs. For more information and a list of upcoming events, visit music.indiana.edu/oecd.


The Johnson Center for Entrepreneurship & Innovation

The Johnson Center for Entrepreneurship & Innovation at the Kelley School of Business offers one of the most comprehensive entrepreneurship curriculums in the world, with nationally-ranked academic programs that a wide range of real-world entrepreneurial experiences through cross-campus initiatives with university departments and involvement with the business community.

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Finalists Announced for the Jumpstart INNOVATION COMPETITION

FINALISTS ANNOUNCED for the Jumpstart INNOVATION COMPETITION

Please join us in congratulating the 2015 Innovation Competition finalists, who will compete in the FINAL ROUNDS this Saturday, from 1-3pm in the Godfrey Building, Room CG 1008 (Graduate side of the Kelley School of Business). The competition is open to all who would like to support them!

THE COMPETITORS

  • TROUBLESOME GAP (Music Center)
    Erin Brooker
    A synergetic musical gathering at a unique and rustic artists’ retreat.
  • MUSIC READING FOR DYSLEXIC STUDENTS (App)
    Kaity Jellison
    Changing the way music is taught to dyslexic students all over the world.
  • TEMPO CONNECTIONS (App)
    Marcos Chavez and Thomas Dougherty
    Changing the way musicians meet, collaborate, and create.
  • JOURNEY THROUGH SOUND (Org)
    Deanna Said
    Making meaningful music accessible and creating dialogue.
  • MUSICAL ARTS PROGRAMMING FOR RURAL ELEMENTARY SCHOOLS (Project)
    Lucas M. Finney
    Hybrid online learning environments for music education.
  • CLASSICAL CONNECTIONS (Org)
    Brynn Elcock and Steven Banks
    Connecting classical musicians with community members who lack access.
  • NEW VOICES OPERA (Org)
    Benjamin Smith, Olivia Savage, Martha Eason, Reuben Walker, Vini Frizzo, Andrew Richardson, Natalie Weinberg
    Encouraging the composition of new American opera through commissions, education, and outreach.
  • BUTTERFLY DREAMS: PROFESSIONAL EXPERIENCE FOR STUDENTS (Ensemble)
    Kathryn Sherman
    Bridging the gap between studies and the professional.
  • GIGGER (App)
    Lenny Nicotra
    Making musical connections and collaborations a breeze.

THE JUDGES

  • DONALD F. KURATKO
    Jack M. Gill Chair of Entrepreneurship at the Kelley School of Business
    Director of the IU Johnson Center for Entrepreneurship and Innovation
  • ARI VIDALI
    Founder and CEO at Envisage Technologies and Jacobs School of Music alumnus
  • MIAH MICHAELSEN
    Assistant Director of Economic Development for the Arts, City of Bloomington
  • MELISSA DICKSON
    Director of Development, Jacobs School of Music and Jacobs School alumna
  • CHRISTIAN PURDY
    Winner of the 2014 Project Jumpstart Innovation Competition, BME student in the Jacobs School of Music

Good Luck to the Competitors!
Team Jumpstart

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MISSION STATEMENT ADVICE FROM FRACTURED ATLAS

Here’s a great review of things to consider when preparing a mission statement of any kind (including your own!)

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5 Tips for Writing a Mission Statement that Doesn’t Suck

Posted: 27 Jan 2015 12:21 PM PST

by Nathan Zebedeo

  1. Answer the right questions.
    If your mission statement were to have a plot, it would be the story of you identifying a specific need in your community and then meeting that need in your own special way. Really, your mission should answer these three questions:

    • What are you doing? (classical theater, documentary film, ballet instruction, punk-rock, abstract sculpture, etc.)
    • For whom? (under-served youth in your neighborhood, nursing home residents, art-lovers in Boise, etc.)
    • How are you doing it better than anyone else?

And that third question, my friends, is the real kicker. Some mission statements can get away with not answering this, but it’s the special sauce that can give your mission some wow factor. This should offer insight into the reason why you’re in business and what you really want the world to think of you.

Here’s a hypothetical mission statement that I literally just made up that answers these questions: “Christopher Square Journal is a nonprofit literary magazine dedicated to publishing the creative writing of LGBT homeless youth. 100% of our sales go to pay our young writers for their work.” Voilà!

  1. Keep it simple, silly.
    Here are two things that your mission statement doesn’t need to be:

    • A manifesto – Leave that for Karl Marx. There’s a special group of artists (probably those who have had their ego bruised one time too many) who take their mission statements as an opportunity to tell the world exactly what they think is wrong with it. Almost all such manifestos can be reduced to the following: “The work made by today’s [insert discipline here] artists is too derivative … or commercial … or too (forgive me J.D. Salinger) phony.”
    • A creative writing exercise – Now is not the time to show off your chops as an author and take your readers on a word journey. By all means, DO NOT tell a story. Readers crave conciseness. Seriously, can you get it down to one or two sentences? Don’t ask a question in your mission statement or start it with something like “Imagine a world…” There are missions out there like “Do you remember the last time a painting made you hungry?” or “Imagine a world where we produced opera for puppies.” Mission statements like these invite me to respond “No, thank you,” and “I’ll pass.”
  2. Avoid jargon.
    Along the same lines, everyone’s going to like your mission statement so much more if it’s plainspoken. With each passing year, a new crop of buzzwords grows up from the fertile land of composted grant proposals and annual reports. These buzzwords, however, are GMOs! You want the words you use in your mission to be 100% organic. If you had to explain what you do to your grandma, what words would you use? This territory has been well-trod and I have little new ground to cover except to link you to some lists of words to avoid here, here, and here.
  3. Know who it’s for.
    Bad missions usually demonstrate a serious misunderstanding of who exactly is meant to read them. So while it may seem obvious, I’d like to break down the three groups of people you’re writing this for.

    • Your constituency – Or your audience, your customers, whatever you want to call them. These are the people for whose direct benefit your art is intended. They need to know what you’re all about. And in specific terms, too, so that they can imagine themselves participating. For example, “art classes for Queens residents” doesn’t really cut it, but “dance instruction for adult beginners in Astoria” and I can suddenly imagine myself warming up at the ballet barre.
    • Your funders – There may be some overlap between your constituency and the people who are financially supporting your work, but not necessarily. Even if you’re offering your services for free, at some point you need someone to open their wallet and fund your work. And they need to be inspired with a reason to whip out the checkbook. Funders not only want to know what you’re doing (e.g. “creating music workshops for developmentally disabled youth”) but also what impact you’re hoping to have (”to bring this curriculum to schools without arts funding and improve these students math and reading scores.”)
    • Your self – Your mission statement should provide you and/or your organization a clear direction and a baseline against which to measure your results. You need something to help you evaluate your success other than your whimsy, and your mission is that something.
  4. Don’t write it in committee.
    Let’s say you’ve got a bunch of collaborators. Maybe you’re starting a film production company. It’s likely that most if not all of them will want to weigh in on your mission statement. And, of course, make sure everyone’s voice is heard. But then, assign one person to the task of actually drafting the mission statement. The task of writing a mission statement as a group cannot be done. Believe me – I’ve tried.

Some further reading on this topic:

How to Create an Effective Non-Profit Mission Statement (Harvard Business Review)
What’s the Real Purpose of Word-Smithing Mission Statements (Free Management Library)
How to Write a Mission Statement (Video)

 

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