Buffalo Arts and Culture

A 2003 study found that the combined spending of 700,000 tourists at 17 sample arts and cultural attractions and the organization\u27s own spending during the 2003 summer, had a $75 million impact on the Buffalo Niagara region. What is the Arts Council in Buffalo & Erie County? The Arts Council is a local organization, dedicated to advocating for and promoting the region\u27s arts and cultural industry. What role does New York State government play in supporting Buffalo\u27s arts and cultural organizations? The New York State Council on the Arts makes over 2500 grants each year to a variety of arts organizations throughout the state. What effect does Buffalo\u27s decreasing population have on arts and cultural organizations? A 2007 study found that 3.3 million people visited 61 arts and cultural organizations in the Greater Buffalo Region in 2005.40 87% of these visitors however, lived locally

The client-oriented model of cultural competence in healthcare organizations

The paper aims to propose a new model of cultural competence in health organizations based on the paradigm of client orientation. Starting from a literature review, this study takes inspiration from dimensions that characterize the cultural competence of health organizations, and re-articulates them in more detail by applying a client orientation view. The resulting framework is articulated into six dimensions (formal references; procedures and practices; cultural competences of human resources; cultural orientation toward client; partnership with community; and self-assessment) that define the ability of a health organization to achieve its mission, acknowledging, understanding, and valorizing cultural differences of internal clients (staff) and external clients (consumers). This study makes an effort to address the paucity of studies linking approaches to managing cultural diversity in health organizations with cultural competence within the framework of client orientation

Sustain Arts/SE Michigan: A Portrait of the Cultural Ecosystem

This report discusses the potential use of data in arts organizations for strategic purposes. Data currently available on the cultural sector can lead to useful insights about the increasing proliferation of small arts organizations; the almost monolithic focus of private foundations on supporting a highly select group of large, well-established arts organizations; and the fact that established arts organizations are poorly positioned to satisfy emerging consumer preferences for cultural experiences. Such insights should provoke frank discussion and galvanize field leaders to advocate appropriate actions, both in response to existing disconnects and proactively, in anticipation of coming change. The data that are now available to the field are not perfect. In fact, that's part of the story that needs to be told about the cultural sector. Systematic data collection on artists, cultural organizations, and audiences receives only a token amount of government funding. Instead, it is left largely up to private organizations to document trends in both the nonprofit and for-profit cultural arenas. This leads to multiple non-overlapping data collection strategies, making it difficult to construct a coherent picture of the field. There are gaping holes in the puzzle, and the tales we tell with existing data must be told with caution

2011 Portfolio

This report provides a snapshot of the financial and programmatic health of Philadelphia's nonprofit cultural organizations. It also examines recession-period trend data for 276 organizations to understand the economic downturn's impact on regional cultural groups. Includes a glossary. With bibliographical references

Figuring the Plural

This report is an examination of ethnocultural, or ethnically/culturally specific, arts organizations in Canada and the United States.As our societies rapidly diversify and we seek to negotiate our increasingly complex national identities, these organizations possess enormous potential to assist in this process for they serve as cultural advocates, cultural interpreters, facilitators of cross-cultural understanding and communication keepers of ethnic tradition, and/or sites where prejudice is exposed and challenged

A Cultural Tourism Strategy: Enriching Culture and Building Tourism in Buffalo Niagara

Their continued dedication to the region\u27s cultural, arts and heritage organizations and the development of cultural tourism has been, and will continue to be, essential to attaining the vision of “A Cultural Tourism Strategy”. The cultural tourism mission is to strengthen cultural, artistic and heritage organizations; expand individual opportunities for creativity and interpretation; help our regional economy grow; enhance the quality of life in our communities; advance the image and identity of the region; and build the region\u27s reputation as a world-class tourism destination. These benefits reinforce one another and can be achieved together

All-ages Movement Project - Project Report

The All-ages Movement Project (AMP) is aiming to find and better understand youth-run cultural organizations focused on music in the United States. For four months, AMP has been exploring these organizations' social and political significance and the idea of enhancing their impact through a national network. AMP has designed a database that now houses the names of over 300 organizations that embody a combination of the following things: youth empowerment componentpopular music focusparticipatory structureproduce music related cultural products The names in AMP's database are turning into profiles and starting to tell a story about how this youthful and eclectic army of organizations is making change in the US in three areas of interest: meaningful cultural products, political impact, and alternative leadership opportunities.AMP looked at metrics in each of these areas to decipher if in fact this group of organizations is playing a role in creating the next generation of leaders through providing the environment and experiences that promote a culture of social change

California's Arts and Cultural Ecology

Californians create, organize, and nurture one of the world's richest arts and cultural ecologies. Across diverse landscapes, they preserve traditions and unveil cutting-edge new artwork. As artists, cultural leaders, community-builders, and arts lovers, they build organizations that nurse creativity from conception through production, presentation, and participation.California's arts and cultural ecology encompasses complex ties among people, organizations, and places. An ecological approach underscores the prominence and contributions of these arts ecology components and how they can be strengthened, especially in times of economic austerity.California's arts and cultural nonprofits play an initiating and pivotal role in this ecology. They are important shapers of the state's internationally renowned cultural industries. They preserve, commission, and present a cornucopia of music, performance, heritage, and visual arts to people in all of the state's regions, across age groups and ethnicities at all levels of income and wealth.Our study documents the budget size, disciplinary focus, and intrinsic and economic impacts of nearly 11,000 California arts and cultural nonprofits, mapping them onto cities and regions. We use new data from the California Cultural Data Project, The National Center for Charitable Statistics, the American Community Survey, the Survey of Public Participation in the Arts, and Impact Analysis for Planning. To explore causal connections, we correlate elements of this mosaic with community characteristics. We detail how people work for the sector, volunteer, and make financial contributions. We show the overall impact of people and organizations on California's economy in terms of jobs, income, output, and state and local tax revenue. With interview data, we offer qualitative insights into governance, interorganizational relationships, and special challenges for small nonprofits. California's nonprofit arts and cultural organizationsCalifornia hosts more nonprofit arts and cultural organizations than do most of the world's nations. Their ranks include multipurpose cultural centers, science and visual arts museums, symphony orchestras and folk ensembles, artist service organizations, ethnic arts groups, literary societies, dance companies, professional associations, and many more. Some have no formal budgets, do little fundraising, and operate chiefly on energetic contributions of volunteers. Others manage sizable budgets with extensive staff, run large productions and venues, and rely less on volunteers.California's nearly 11,000 arts and cultural nonprofits operate across the state's regions. Smaller organizations vastly outnumber large ones, with 85% of organizational budgets falling under $250,000 and 48$25,000. Yet California's nonprofits have a much larger footprint than formal budgets convey, because at all budget sizes, they engage the services of substantial numbers of volunteers and receive in-kind contributions of time and materials uncommon in public and for-profit sectors.Reflecting California's ethnic diversity and its immigrant character, 22% of California's arts and cultural nonprofits focus on ethnic, folk arts, and multidisciplinary work. Another fifth focus on humanities, legacy, and other museums. Visual arts organizations, including art museums, comprise 5% of California nonprofits, but 10% of those with budgets over $10 million

Bright Spots Leadership in the Pacific Northwest

The operating environment for nonprofit cultural organizations today is daunting. Demographic shifts, changing participation patterns, evolving technology, increased competition for consumer attention, rising costs of doing business, shifts in the philanthropic sector and public funding, and the lingering recession form a stew of change and uncertainty. Every cultural organization is experiencing a combination of these shifts, each in its own way. Yet, while some organizations are struggling in this changing context, others are managing to stay healthy and dynamic while operating under the same conditions as their peers. These groups are observable exceptions, recognized by their peers as achieving success outside the norm in their artistic program, their engagement of community, and/or their financial stability. These are the "bright spots" of the cultural sector.Who are they? What are they doing differently? What can we learn by studying their behavior?To explore these questions, the Paul G. Allen Family Foundation asked Helicon Collaborative to conduct a study of cultural groups in the Pacific Northwest. The project had two goals: 1) to identify "bright spots," defined as cultural organizations that are successfully adapting to their changing circumstances without exceptional resources, and 2) to see if these organizations share characteristics or strategies that can be replicated by others