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boards Some Thoughts on Joining an Arts Board by Brenda Berck In these times of budget cutbacks, fiscal restraints, and arts groups' feeling beleaguered from all sides, what would prompt a person to serve on the board of an arts group? Over many years of facilitating Board Development Workshops, I have discovered that there arc as many reasons as there are people on arts boards, and their reasons for being there are often highly personal. Most frequendy, people agree to serve simply because they are asked. Sometimes that's flattery, sometimes it's an invitation that acts as a reminder that a group needs the skills that one has to offer. (There are an astonishing number of people who would offer their skills if only they knew that an organization whose goals they share needed their help.) Desire to serve the community,flatteryat being asked, commitment to a cultural life in one's home town, desire to get to learn more about art or more about work behind the scenes, wish to put one's talents to use in a new way, then, are some of the reasons people agree to serve. They may also say 'yes' without being clear about what they are saying 'yes' to, for none of these reasons presume an understanding of the mandate of the organization or the responsibilities of a board member. This is made worse by the arts board not really knowing what they need to have done, beyond filling a vacancy. I was once invited to serve on a board (which shall remain nameless), and when I asked what they wanted me to do. they said, "We don't know yet, but you comereallyhighly recommended!" Flattering, but how to avoid wasting everyone's time, frustrating well-meaning volunteers who may not, in fact, share your goals? First, the existing board, and especially its nominating committee, need to be clear about what qualities they are seeking in new board members. Then, they must be candid with the potential board member about why they wish her/him to join the board. While there always seems to be the need for more, and different, bodies who can help to raise funds, in fact each year the needs of an organization will be different, and therefore the qualities it seeks will differ somewhat. What are the existing skills on the board and which of these will remain next year? Do you most need help with marketing (i.e., increasing the overall image of your organization in the community)? Is there a particular need for individuals who are comfortable working with financial statements, whose eyes don't glaze over the instant the board discusses financial planning? Is this the year for looking seriously for individuals with skills in raising funds for the arts? Are you looking for help in thinking of imaginative ways to gel the community and the arts organization more engaged with each other? Is there a need to expand into new segments of the community? Does this mean involving more artists from more disciplines or individuals from segments of the communiiy-at-large that you wish to the spots. The problem is not that there is no one to fill the vacancy; the true problem is that the outgoing board waited too long to appoint a nominating committee. It is far better for the organization to continue with a vacancy than to fill it with the wrong person. The arts organization will find that such a problem ceases to exist if the nominating committee operates year-round, keeping track of how existing board and committee members are working out, and what new needs will have to be met with a Brenda Berck is the Cultural Development Officer of the North Shor Arts Commission. For the past nvWvr years, she has served on arts board*, worked for them, and acted as facihtat for board development workshops. She currently limits her board involvement sening on the board of the Emily Can College of Art and Design. Tworequcs within one week to join quae different c boards prompted this series of articles. Potential board members who have not first served on a committee should receive copies of the organization's brochure and newsletters, and anything else that describes the organization's mission/ mandate and activities, as well as a recent financialreport.The nominating committee should ensure that the potential board member has a clear understanding of the current year's organizational plans and that an early task, if s/he agrees to serve, will be the formulation of the upcoming year's plans. As well, s/he shouldreceivean honest assessment of the time commitment involved. If the potential board member is unknown to most existing board members or others closely involved with the organization, s/he should be invited to observe a meeting. The candidate needs to determine whether this organizadon is indeed one that s/he would like to help; on the other hand, the organization needs to determine if this is a person they can work with. (There are a lot of volunteers and friends who might be great at carrying out time-limited lasks but who would make terrible board members. These are the folks who should be asked to serve on a committee but not on a board.) It is absolutely essential to check whether the individual has served on a non-profit board before and understands both the responsibilities and the liabilities (financial and legal) that go with being on a nonprofit board. And, if the person has never served on an arts board, it is important to clarify how an arts board differs from other non-profit boards, and indeed, how the issues an art gallery board deals with differ from those dealt with by a theatre board or a museum board, and so on, if their arts experience differs from your organization's Even after a person has been newly elected to the board, the nominadng committee work continues, for it is their job to check to see that things are going well and to see -thai answers are provided for the questions that inevitably arise. This initiative by the nominating corrrmittee is crucial, because newly elected board members almost never take the initiative of identifying their uncertainties and putting questions to the people who elected them. ("They must think I know, or they wouldn't have elected me," they assume.) Within the first three months, the board should hold a board development workshop. The importance of this and how and why it works will be discussed in the next issue of Arts Access. Two weeks before the A.G.M., with board vacancies still unfulfilled, it is easy for a nominating committee to panic and fall into the trap of simply seeking bodies to fill