MEMORANDUM

TO: Community Arts Collective Board, Executive Director, Artistic Director

FROM: Lydia Schmitt, Community Engagement Coordinator
SUBJECT: Collaboration
DATE: 2/24/2020

As we begin to establish our organization, Community Arts Collective, we must learn the
best practices for collaboration and cross-sector collaboration. Collaboration is important
to the CAC for many reasons, most pressing would be that it is the core of how our
museum will function. In order to bring contemporary art gallery spaces to the public, we
must first build strong relationships with other arts organizations, local government, and
local businesses. “Collaboration, when undertaken in good spirit and with sound practice,
is the most powerful tool for sustaining [arts] organization and communities while
effecting positive change” (Flood & Vogel, 2015, p.1).

Additionally, collaboration is emphasized now more than ever. “In a 2010 survey, 81% of
organizations reported that they were engaged in some form of collaboration” (Milway et
al., 2014). More organizations are engaging in collaboration, both within their sectors and
across sectors, because these partnerships are known to have a plethora of positive
impacts not only for the organizations involved, but also for the community at large. In a
2007 study done by Gazley and Brudney, they found that government and nonprofits
executives find collaboration to be beneficial for jointly addressing problems, improving
community access to a service, promoting shared goals, and building a stronger
community (Gazley & Brudney, 2007, p. 398). Nonprofit funders and foundations are
also advocates for collaboration, often times providing specific granting opportunities to
organizations that are willing to or often collaborate (Worth, 2019, p. 340).

Collaboration Defined
Simply, collaboration can be defined as the, “process by which organizations with a stake
in a problem seek a mutually determined solution [pursuing] objectives they could not
achieve working alone” (Sink, 1998, p. 1188). This way of defining collaboration
excludes purely contractual relationships, such as mergers, and panels that meet regularly
but have no specific goals (Gazley & Brudney, 2007, p. 391). We can also look to Jo Ann
Romero’s short but effective definition of collaboration as, “the movement of value
between two parties” (Romero, 2008). Collaborations are voluntary and each
organization would retain their autonomy in decision-making power in order to achieve
some higher, transformational purpose through sharing resources (Wood & Gray, 1991).

Community Arts Collective and Collaboration

To understand why collaboration is an essential component to the CAC, let us first
review our mission, vision, and value statements.
 Mission: The Community Art Collective (CAC) curates equitable, engaging, and
accessible art spaces to promote community and introspection. The CAC
consciously collects works of artistic excellence from underrepresented
narratives, groups, and individuals.
  Vision: The CAC strives to foster a Minneapolis where every person can
experience and be educated about art.
 Values: accessibility, community, education, creativity, conscious collecting,
preservation, inclusivity
These statements reflect our commitment to making art accessible to the every person,
and we plan to do this by developing exhibitions in everyday, public spaces. “Art
museums have a unique responsibility to serve and educate the public through direct,
personal encounters with works of art” (Association of Art Museum Directors, 2006).
The CAC plans to tackle this unique challenge in a unique way, through collaboration
and cross-sector collaboration in our community. David La Piana, a nonprofit consultant,
advocates for, “the establishment of various relationships in which nonprofits can work
together to increase efficiency without merging” (Worth, 2019, p. 340). Through
collaboration, the CAC will be able to bring pop-up art exhibitions into local businesses,
parks, libraries, arts organizations, and health service organizations.

Gazley and Brudney (2007) list several purposes for collaboration: “[…] desire to reduce
costs, increase resources, and avoid cost of competition; desire to build relationships
between governments and nonprofit organizations or improve community relations; a
desire to enhance service or an interest in expanding services or enhancing their quality;
and a need to meet legal requirements or to fulfill mission.” Many arts organizations are
leveraging their limited resources through partnerships and collaborations with other
organizations, like nonprofit arts groups or community groups and businesses (Scheff &
Kotler, 1996, p. 2). Additionally, government agencies often view partnerships as a
positive measure of improving service quality (Gazley & Brudney, 2007, p. 399). All of
these points are relevant to our organization. We are collaborating out of a desire to lower
our costs, build community relationships, expand our impact, and to fulfill our
organizational mission.

Elements of a Successful Collaboration

Collaboration has a positive association for most people, but those who work with
collaborations frequently understand that it can become very complex very fast.
“Collaboration generally involves a higher degree of mutual planning and management
among peers; the conscious alignment of goals, strategies, agendas, resources and
activities; an equitable commitment of investment and capacities; and the sharing of
risks, liabilities and benefits … collaboration, therefore, suggests something less than
authoritative coordination and something more than tactic cooperation” (Fosler, 2002,
p.19). Collaborations can be difficult to navigate; to be prepared, the CAC must be able
to balance, integrate, and anticipate results (Fosler, 2002, p. 7). While each collaborative
relationship will be different, there are several steps that the CAC can take to lead us
towards success.

Flood and Vogel (2015) identified shared characteristics amongst highly collaborative
organizations: “the collaborative work is intentional and has been sustained over several
years; collaboration is central to the organization’s mission and core values; the
collaboration addresses dynamic issues, challenges, or concerns in a definable
community.” Since our organization is new, our first step would be to start these
intentional and sustained relationships with community partners. However, our
organization already meets the other objectives. The CAC’s mission directly calls for
collaboration addressing contemporary concerns within the community of Minneapolis.
Our organization was built with the intention for impactful, community-driven
collaboration.

Worth (2019) further identifies conditions for a successful collaboration:

 Driven by mission: Focus of collaboration should be to expand the organization’s
services in pursuit of their mission
 Commitment from top leadership: Board and executive staff need to be engaged
and committed to the collaborative relationship because the configuration of
leadership is merged
 Trust: “An atmosphere of trust helps ‘lower the barriers between individuals and
organizations, foster the growth of possible relationships, discourage hidden
agendas, and promote good-faith negotiations’ (Yankey & Willen, 2005, p. 270).”
 Relatedness: The mission or objectives between organizations should be
compatible
 Process: Relationships require sufficient time to cultivate, and “the process
through which the [relationship] is developed and operationalized has a
significant impact on the likelihood of success” (Yankey & Willen, 2005, p. 269).

Looking towards cross-sector collaborations, we foresee relationships with private

businesses and local government. These CSCs need to be understood and modified for
their own particular circumstances (Fosler, 2002, p. 5). Fosler (2002) has identified
several components of successful CSCs:
 “Cross-sector collaborations are most likely to succeed in a supportive climate
[…]” This environment should be shaped through the community’s
organizations, visions, and consensus. This includes respect for diversity within
the community and effective political discourse.
 “Successful cross-sector collaborations are performance-based in that they
clearly define the public purpose to which they are committed and then drive the
collaboration to the accomplishment of that purpose.”
 “Several kinds of capacity are required to successfully initiate and execute cross-
sector collaborations including:” leadership, citizenship, knowledge and
understanding, communication and network management, industry and service
structures, performance and accountability, and ethics.
Additionally, successful cross-sector leaders will recognize that the best solutions come
from designing in collaboration with the communities most affected (Becker & Smith,
2018). They understand the human-centered design approach and build sustained
relationships with stakeholders that invoke empathy and embrace an iterative process
(Becker & Smith, 2018). Effective leaders are committed to addressing the critical power
dynamics in order to have those most affected become part of the design process (Becker
& Smith, 2018). If the cross-sector leaders do this effectively, stakeholders will engage
and buy into the co-designed solutions (Becker & Smith, 2018).

Risks, Challenges, and Benefits of Collaboration

As with any major organizational decision, collaboration offers an array of risks,
challenges, and benefits for all parties involved. In order to maximize the benefits and
reduce risks and challenges, careful contemplation over which relationships CAC pursues
is key. As just mentioned, successful collaboration involves a plethora of moving parts,
extensive planning, and dedicated leadership. Even if all of this is done well, risks and
challenges are still possible in every step of the relationship. Potential risks, challenges,
and benefits are described below:
Risks and Challenges:
 Potential institutional costs include “[…] mission drift, the possible loss of
institutional autonomy or public accountability, cooptation of actors, greater
financial instability, greater difficulty in evaluating results, and the expenditure of
considerable institutional time and resources in supporting collaborative
activities” (Gazley & Brudney, 2007, p. 392).
 Partners jointly contribute their own resources and reputation, which is risky but
necessary (Sheff & Kotler, 1996, p. 2-3).
 Require significant investments from all parties of time, energy, and emotion
(Sheff & Kotler, 1996, p. 2).
 “[…] conflicts over trust and turf ultimately undercut the process” (Kirkpatrick,
2007, p. 46).
 Strong leadership is required when collaborating. Leaders will have to find
balance between their attention to the people involved in the change effort and the
results needed to achieve goals (Becker & Smith, 2018). “[…] cross-sector
leaders need to be able to address power dynamics effectively, build trust, and
help team members address any breaches of the shared culture they are
developing” (Becker & Smith, 2018).
 “[…] Simultaneously maintain our artistic and cultural integrity while being of
service to individuals and communities in tangible and meaningful ways” (Flood
& Vogel, 2015, p.5).
 “Both supporters and critics express concern that for-profit collaborations could
undermine the real and perceived need for philanthropy upon which museums
rely” (AAMD, 2006).
Benefits:
 “[…] ability to address shared problems more effectively, its potential for cost
savings and interorganizational learning, the higher quality service or end product
that may result, a gain in competitive advantage, access to new skills or markets,
and diffusion of risk” (Gazley & Brudney, 2007, p. 392).
 Expand customer base, cut costs without compromising mission, achieve goals
that otherwise could not be achieved (Sheff & Kotler, 1996, p. 3).
 Promotes greater public accountability (Gazley & Brudney, 2007, p. 392).
 Builds a stronger community and improves services (Gazley & Brudney, 2007, p.
392).
 Many collaborative opportunities already exist for arts organizations (Sheff &
Kotler, 1996, p. 3).
 Partnering with other nonprofits and community groups can bring in more diverse
audiences (Sheff & Kotler, 1996, p. 6).
  Partnering with multiple organizations creates synergies that that benefit a city’s
cultural organizations, entertainment, and tourism businesses and their customers
(Sheff & Kotler, 1996, p. 10).

Collaboration Opportunities for CAC

"Successful collaborations require a vision that identifies important public purposes and
puts them in context” (Fosler, 2002, p. 6). As mentioned previously, the CAC plans to
collaborate with other arts organizations, local government, and local businesses. The
American Alliance of Museum Directors (2006) provides a list of important questions to
consider before starting a collaborative relationship:
 “Does this collaboration further or detract from the museum’s mission?
 Will the collaboration enhance public access to important works of art?
 Do the motives of the for-profit affect the non-profit institution’s critical
judgment?
 Will this partnership change philanthropic support for the museum?
 Will the collaboration mitigate institutional risks?
 Does this partnership address the museum’s costs?
 Could the collaboration affect the good name or reputation of the museum?
 Is the lending of works of art appropriate – and will the works be well protected?”

CAC plans to refer to this list of questions, and other materials provided in this memo, to
determine where the most effective and influential collaborative relationships can be
formed. Below is the shortlist of potential collaboration opportunities for CAC:
 Traffic Zone Center for Visual Arts – gallery and studio space for local artists
 Soo Visual Arts Center – a nonprofit arts space that connects the Minneapolis
community with fresh, under-represented, and provocative art.
 Minneapolis Pops Orchestra – conducts free public performances
 Minneapolis Library Systems – Minneapolis has an extensive library system with
locations all over the city
 Minneapolis Parks Department – controls public green spaces, parks,
amphitheaters, and picnic areas
 West Market District Businesses – this community of innovative businesses and
entrepreneurs are passionate about driving creativity in Minneapolis
 Springboard for the Arts – a nonprofit economic and community development
organization for artists by artists

There is still a lot of work to be done to build these longstanding, collaborative

relationships with other businesses, organizations, and government. However, this memo
provided key points to consider before starting and during the collaboration process. The
board and executive staff members should use this memo as a resource for why
collaboration is vital to our organization and the best practices involved. All members of
staff must be aware of how integral collaboration is to our organization, factors for
successfully collaborating, risks and benefits of collaboration, and which organizations
we foresee building relationships with.
BIBLIOGRAPHY

Association of Art Museum Directors. (2006, March). Exhibition Collaborations between

American Art Museums and For-Profit Enterprises.
https://aamd.org/sites/default/files/document/Commercial%20collaborations
%20_FINAL%2003.06.pdf.

Becker, J., & Smith, D.B. (2018). The Need for Cross-Sector Collaboration. Stanford
Social Innovation Review. Leland Stanford Jr. University.

Flood, B., & Vogel, B. (2015). The Arts in Cross-Sector Collaborations: Reflections on
Recent Practice in the U.S. In P.S. Fohl & I. Niesener (Eds.), Regionale
Kooperationen im Kulturbereich (pp. 347- 361). Regional Governance im
Kulturbereich.

Fosler, R.S. (2002). Executive Summary. In R.S. Fosler (Ed.), Working Better Together:
How government, business, and nonprofit organizations can achieve public
purposes through cross-sector collaboration, alliances, and partnerships. (pp. 3-
8). Washington, DC: Independent Sector.

Gazley, B., & Brudney, J. L. (2007). The Purpose (and Perils) of Government-Nonprofit
Partnerships. Nonprofit and Voluntary Sector Quarterly, 36(389), p. 389-416.
http://nvs.sagepub.com/cgi/content/abstract/36/3/389.

Hopkins, B. (2017). Joint Venturing and Other Partnering. In Editor (Ed.), Starting &
Managing a Nonprofit Organization: A Legal Guide, 7th edition (pp. 275- 290).
Wiley.

Kirkpatrick, K.T. (2007, Summer). Go ahead: Pop the question. Stanford Social
Innovation Review, 5(3), 3-46.

Milway, K.S., Orozco, M., & Botero, C. (2014, March 6). Why nonprofit mergers
continue to lag. Bridgespan Group. Retrieved from
http://www.bridgespan.org/Publications-and-Tools/Strategy-Development/Why-
Nonprofit-Mergers-Continue-to-Lag.aspx.

Romero, J. (2008). The Art of Collaboration – The Real Truth About Working Well With
Others. New York: iUniverse.

Scheff, J., & Kotler, P. (1996, January). How the Arts Can Prosper Through Strategic
Collaborations. Harvard Business Review. https://hbr.org/1996/01/how-the-arts-
can-prosper-through-strategic-collaborations.

Sink, D. W. (1998). Interorganizational collaboration. In J.M. Shafritz (Ed.), The

international encyclopedia of public policy administration (pp. 1188-1191).
Boulder, CO: Westview.
Wood, D.J., & Gray, B. (1991). Toward a comprehensive theory of collaboration.
Journal of Applied Behavioral Science, 27(2), 139-162.

Worth, M. J. (2019). Collaborations, Partnerships, and Mergers. In Editor (Ed.),

Nonprofit Management: Principles and Practice, Fifth Edition (pp. 336- 369).
Sage.

Yankey, J.A., & Willen, C. K. (2005). Strategic alliances. In R.D. Herman and Associates
(Eds.), The Jossey-Bass handbook of nonprofit leadership and management (pp.
254-274). San Francisco, CA: Jossey-Bass.