University of New Orleans University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation
Overview
From 2003 to 2013, the United States saw a 35% increase in 501(c)(3) public charities, while Louisiana’s count grew by 24.2% in the same period; however, New Orleans experienced a 32.1% decline in nonprofit visual arts organizations since 2010 Nascent visual arts nonprofits now face unprecedented competition for scarce resources within the nonprofit sector and from the expanding social venture landscape As these visual arts nonprofit startups move beyond incubation, they contend with internal and external challenges, and survival depends on securing funding, attracting qualified staff, building dedicated boards, and earning ongoing stewardship from constituents, all supported by excellence in administration, operations, management, and financial practices.
This report documents my graduate internship at Pelican Bomb, a contemporary visual art organization founded in New Orleans in 2011 It provides an in-depth analysis of Pelican Bomb’s mission, history, programs, and management structure, and offers insights and recommendations to enhance the organization’s sustainability and effectiveness.
1 “Quick Facts and Figures”, National Center for Charitable Statistics Web August 9 2015,
2 “2014 New Orleans Cultural Economy Snapshot,” City of New Orleans, Web August 9
Pelican Bomb, launched in February 2011 by curator Miranda Lash, programmer Rami Sharkey, designer Erik Kiesewetter, and editor Cameron Shaw, is an online publication dedicated to arts writing and criticism Its mission is to provide New Orleans' artists with a thoughtful, informed, and diverse forum, connecting their practice to regional, national, and global currents in contemporary art.
Pelican Bomb began as an editorial project and evolved into an organization after co-founder Cameron Shaw connected with Amanda Brinkman while working at the now-defunct Contemporary Visual Arts Association of New Orleans (CVAANO) Their collaboration laid the groundwork for the framework behind Pelican Bomb’s current programs, and over time the organization’s offerings have expanded to meet the evolving needs of the New Orleans art community.
Shaw and Brinkman expanded Pelican Bomb’s online publication by broadening its programming across multiple platforms to engage the local art community and connect it with national and global voices in critical discourse, thereby highlighting New Orleans as a regional hub for contemporary arts The current mission centers on fostering dialogue, visibility, and exchange between local artists and wider audiences, reinforcing Pelican Bomb’s role as a bridge between New Orleans and the national and international art scenes.
Pelican Bomb is a nonprofit organization dedicated to increasing New Orleans’ cultural capital and sustainability by cultivating diverse platforms for contemporary art discourse, engagement, and education Through a range of public programs—including publications, exhibitions, panels, and curatorial projects—Pelican Bomb works to make New Orleans a viable and supportive place for artists to live and work.
3 “Pelican Bomb.” Pelican Bomb N.p., n.d Web 25 July 2015.< http://pelicanbomb.com>
Pelican Bomb developed artist-driven programs in response to feedback from the local artist community, which identified a need for consistent, reliable critical discourse to help their practice thrive Over time, the programming expanded to connect artists with collectors and to offer a range of opportunities for recognition and professional development Pelican Bomb’s organizational goals include fostering critical discourse, enabling meaningful connections between artists and collectors, and supporting ongoing professional growth within the artist community.
1 To create places for artist to exhibit their work
2 To connect artists to people to buy their work
3 To engage writers and thinkers in dialogue with artists’ work to promote it and propel it forward 4
To address the shortage of competitive compensation for arts workers, Pelican Bomb has made fair pay for artists, writers, and arts professionals a secondary goal From its founding in 2011 through March 2015, Pelican Bomb paid roughly $125,000 to artists, arts workers, and contributors to its online publication.
Pelican Bomb is a small arts organization currently comprised of two full-time co-directors and two part-time staff members Cameron Shaw, the founding editor, serves as the Executive Director Shaw graduated from Yale University with a B.A in Art History and has gone on to write and edit for publications such as the Los Angeles Review of Books, BOMB Magazine, and Art Forum.
4 “Who We Are.” “Pelican Bomb.” Pelican Bomb N.p., n.d Web 25 July 2015
Pelican Bomb has showcased nationally and internationally acclaimed artists such as Chris Ofili, Marcel Dzama, and Keith Duncan, underscoring its role in contemporary art discourse In August 2015, Shaw was commissioned to write an article reviewing the exhibitions commemorating the ten-year anniversary of Hurricane Katrina at the New Orleans Museum of Art and the Ogden Museum of Southern Art.
Shaw has over ten years of professional experience in contemporary art, including serving as the research manager at David Zwirner Gallery in New York He was a recipient of the 2009 Creative Capital/Andy Warhol Foundation Arts Writers Grant for Short Form Writing and was selected to participate in the National Alliance for Media Arts and Culture (NAMAC) Leadership Institute in 2013.
Amanda Brinkman, Pelican Bomb’s co-director and Creative and Operations Director, earned a B.A in Art History from the University of California, San Diego, and an M.A in Visual and Critical Studies from the School of the Art Institute of Chicago Her professional background in contemporary art includes roles at the International House of Blues Foundation in San Diego, the School of the Art Institute of Chicago, the Spertus Institute of Jewish Studies, and the Sullivan Galleries in Chicago.
Maggie McWilliams joined Pelican Bomb in July 2015 as a part-time staff member and has since risen to the role of Project Coordinator A Tulane University graduate, she now oversees Pelican Bomb’s Collections Management contract with the Arts Council of New Orleans, where her primary responsibilities include documenting and installing artworks for the City of New Orleans’ Percent for Art collection.
From January to July 2015, I completed the M.A Graduate Internship at Pelican Bomb Although Pelican Bomb had hosted interns before, this period marked the organization’s first formalized job description for a structured academic internship My core responsibilities included social media management, programmatic support, and office administration, contributing to both online presence and day-to-day operations.
In September 2014, Pelican Bomb hired Rosemary Reyes to serve as the full- time Editorial Manager Reyes resigned during the course of my internship
Pelican Bomb’s board of directors comprises five members, led by Kevin Wilkins as Board President, who brings extensive experience in business development and management He previously won the Downtown NOLA Arts Business Pitch at New Orleans Entrepreneur Week in 2013 and joined Propeller: A Force for Social Innovation’s Social Venture Accelerator, where Pelican Bomb was selected as one of fifteen participants; during the year-long fellowship, Wilkins served as Entrepreneur-in-Residence and Chief Operating Officer at The Idea Village and mentored the Pelican Bomb directors in building the organization’s effectiveness, sustainability, and growth After the fellowship concluded, Wilkins joined Pelican Bomb as President of the Board of Directors.
Duties of the Internship
Pelican Bomb developed a targeted job description to define the core responsibilities of the M.A in Arts Administration intern, with the role totaling 480 hours from January to July 2015 I completed the required hours by averaging 18-22 hours per week, typically spread across two full workdays—Monday and Wednesday—and a half-day on Fridays When events and programs required extra or weekend hours, I adjusted my schedule accordingly to ensure coverage and successful program delivery.
During my internship at Pelican Bomb, Cameron Shaw, the Executive Director, functioned as my supervisor, while I reported to co-director Amanda Brinkman with equal frequency I regularly attended staff meetings and eventually took on the responsibility of scheduling, planning, and leading them on a weekly basis throughout the internship After the internship concluded in July 2015, I continued to contribute to Pelican Bomb on a part-time basis.
At the start of my internship, Pelican Bomb lacked the capacity to activate its social media channels to market its programs and events, engage the public and potential donors, and drive sales of the Community Support Art (CSA) program Consequently, the internship focused on curating relevant content to boost website traffic and implementing and maintaining a consistent social media posting schedule to strengthen online engagement and support for Pelican Bomb.
Appendix A features a social media calendar for Twitter, Facebook, and Instagram As the internship was part-time, posts were scheduled in advance through Hootsuite, and periodic snapshots of engagement were compiled to inform growth strategies.
My programmatic support duties largely involved coordinating the Critic-in-Residence program and Roving Exhibitions, including drafting itineraries for three visiting critics that encompassed travel, studio visits with local artists, visits to museums and cultural institutions, one-on-one meetings with curators, directors, and other arts professionals, as well as public lectures and writing workshops; after the Executive Director approved the itineraries, I scheduled all commitments for the program duration (January–February 2015).
At the conclusion of the program, I was required to document and log all expenses for accounting and grant reporting purposes
During my internship with the Roving Exhibitions program, I handled project management and event coordination for the Foodways Exhibition at the New Orleans Culinary & Hospitality Institute (NOCHI) from October 25, 2014, to January 25, 2015 I coordinated seven public events—including panels, film screenings, and children’s programs—and documented several pieces on loan from the High Museum of Art in Atlanta and private collections before their return.
During the roving exhibition "(De)Tangled: A Living Salon" at the UNO St Claude Gallery from May 9 to June 7, 2015, I led outreach efforts by canvassing local barbershops and hair salons with postcards to reach audiences outside the existing local art community I also drafted and placed an advertisement for the exhibition in The Gambit's May e-blast to increase visibility across the broader community.
For the Roving Exhibition What Lifts You, an interactive mural unveiled on Whitney White Linen Night, August 1, 2015, I led project management for the production of the White Linen unveiling and supported programming at the Contemporary Arts Center, coordinating logistics, timelines, and stakeholder collaboration to ensure a successful event.
During the internship, I managed a range of cross-departmental responsibilities, from collecting and presenting metrics that demonstrate the impact of programming to existing and prospective donors to supporting development efforts My office-management duties included submitting staff timesheets to the fiscal sponsor, the National Performance Network (NPN); preparing invoices and reimbursements for the Critic-in-Residence program; and purchasing office and programmatic supplies I also planned and led staff meetings to keep all employees—especially part-time staff—well informed about programs, project updates, and organizational activities.
SWOT Analysis
Innovative and high quality programming
Sustainable earned income revenue stream
Success in securing foundation grants
Turnover in staff & contract personnel
Growing local arts and culture community New audiences
New personnel can increase capacity
& supporter base with membership program
Potential conflicts with for- profit endeavor
Innovative and High Quality Programming
Pelican Bomb offers a wide variety of programs tailored to its size and age, designed to engage arts writers, artists, arts appreciators, and collectors These programs are recognized for their innovative approaches and for effectively addressing the evolving needs of the New Orleans art community.
In 2013, Pelican Bomb won the “Downtown NOLA Arts Business Pitch” at New Orleans Entrepreneur Week with their pitch for the Roving Exhibitions program In 2013-
They were selected for a yearlong fellowship with Propeller: A Source for Social Innovation Accelerator program, and in 2015 the Community Supported Art (CSA) program was selected to participate in a national exhibition of Community Supported Art and Flat File programs at American University’s Museum at the Katzen Arts Center.
Washington, D.C Pelican Bomb’s Roving Exhibitions program and its online publication, Art Review, have also garnered praise from media outlets like the Huffington Post and ARTNews
Pelican Bomb’s programs highlight an innovative, artist-centered approach that remains responsive and adaptable to the needs of New Orleans’ artistic community, a commitment that has attracted support from major funders, including the Joan.
Mitchell and the Lambent Foundations, who support projects that are artist-driven, collaborative, and intentionally diverse According to a recent article in the Stanford
Social Innovation Review, a number of funders like the W.K Kellogg Foundation,
The Rockefeller Foundation and other prominent arts funders are seeking to fund projects that may carry higher risks but promise transformative impact on communities Pelican Bomb’s programming—and its emphasis on experimental, innovative, diverse, adaptive, and artist-centered approaches—aligns with funders’ interests and may attract additional support from those seeking bold, community-focused initiatives.
Sustainable Earned Income Revenue Stream
Pelican Bomb's earned income revenue accounts for roughly 30% of its funding, highlighting its financial sustainability The organization has been successful in generating this revenue through art sales from the Community Supported Art (CSA) program and a Collections Management contract with the Arts Council of New Orleans.
Over the past few decades, nonprofit organizations have increasingly pursued earned income as a strategy to reduce reliance on funders Earned income is crucial for sustainability when grants and other funding sources are unstable or not diversified enough, as is the case with Pelican Bomb Unlike grant funding, which often comes with restrictions on how the money can be used, earned income offers unrestricted revenue that the organization can deploy as needed to advance its mission and programs.
Earned income can also make an organization “appear more disciplined, innovative, and businesslike to stakeholders.” 9 Therefore, if an organization develops a
8 Gabriel Kasper and Justin Marcoux, “The Re- ‐Emerging Art of Funding Innovation,”
Stanford Social Innovation Review, Spring 2014: 2, 10 September 2015
9 William Foster and Jeffery L Bradach “Should Nonprofits Seek Profits?” Harvard Business
Earned income can be a significant source of revenue for nonprofits, a point highlighted in a February 2005 review and evidenced by Pelican Bomb This funding model can reassure current funders by demonstrating the organization’s ability to sustain operations if a major funding source disappears, while also attracting prospective funders who view earned income as a sign of long-term sustainability and resilience.
Success in securing foundation grants
Foundation grants account for over 40% of Pelican Bomb’s budget, underscoring their critical role in the organization’s finances Pelican Bomb’s success in securing these grants stems largely from the directors’ persistent relationship-building with current funders and from the organization’s alignment with funders’ priorities.
According to Cameron Shaw, the Executive Director of Pelican’s Bomb, the organization’s relationships with current foundation grantors developed after initial proposals were rejected By pursuing funding over two to three years, Pelican’s Bomb built relationships with foundation officers, refined its proposals, and demonstrated persistence and tenacity—traits that funders respond to favorably.
One of the factors responsible for Pelican Bomb’s success in securing grants from foundation lies in the ability to find funders whose priorities align closely with Pelican Bomb’s programmatic design By creating programs that are artist-centered and address the intersection of art, culture, and social justice, the organization was able to appeal to funders with similar priorities such as the Joan Mitchell Foundation and the Lambent Foundation
As Pelican Bomb continues to grow, it will need to continue to cultivate relationships with current foundation grantors while focusing on developing other streams of revenue Because the funding climate is influenced by uncontrollable factors such as the economy and shifting public attitudes, it is essential that Pelican Bomb avoid becoming dependent on any one source of revenue and continues to develop mixed income streams 10
Pelican Bomb has built cross-sector partnerships to power its programming, especially the Roving Exhibitions program By collaborating with developers, local firms, and entities like the Downtown Development District, Pelican Bomb can mount exhibitions in underutilized spaces free of charge Partnerships with organizations such as the New Orleans Film Society (NOFS) and the Southern Food & Beverage Museum have expanded offerings to include panels, film screenings, and cultural tours As a result, Pelican Bomb can present exhibitions and curatorial projects to the public at a fraction of the cost of a typical museum or gallery show.
A strong partnership with other agencies can help an organization deepen its engagement with communities; gain access to a greater scope of expertise, credibility,
According to William J Byrnes in Management and the Arts (Focal Press, 2009), funding remains a central issue for nonprofit arts organizations Consequently, many nonprofit arts organizations have formed collaborations that increase impact, enhance sustainability, and pool collective resources to meet the constantly evolving challenges of the 21st century.
Turnover in staff and contract personnel
Pelican Bomb relies on a mix of part-time staff and contracted personnel to deliver programs and provide operational support The organization has faced ongoing challenges with retention, as many staff and contractors leave within a year of joining As the organization grows, establishing robust operational structures, competitive compensation and benefits packages, and ongoing professional development will help attract and retain qualified, dedicated personnel.
Nonprofit organizations face ongoing challenges in retaining staff, with turnover rates higher than those in government and business sectors National research shows nonprofits experience about 3.1% employee turnover, compared with 2.7% in the business sector and 1% in the government sector This higher turnover can disrupt programs, erode institutional knowledge, and raise recruiting and training costs, making retention a critical concern for mission-driven organizations like Pelican Bomb Focusing on effective retention strategies helps protect program quality, sustain fundraising relationships, and ensure long-term impact.
11 Thomas Wolf and Gigi Antoni, More than the sum of its parts: Collaboration &
Sustainability in Arts Education, (New York: National Guild for Community Arts Education:
12 Liz Armstrong, et al., Nonprofits in Crisis: How to retain employees in the nonprofit sector, diss., University of Nevada, Las Vegas, 2009, (Las Vegas: UNLV
Best Practices
Founded less than five years ago, Pelican Bomb’s programming is ambitious and diverse As the organization transitions from incubation to growth, it faces several programmatic and operational challenges By examining best practices from industry leaders and current research, Pelican Bomb can distill critical insights to design and adapt its operations, monitor trends, and identify competitors, collaborators, and supporters within the visual arts landscape.
In this chapter, we present evidence-based best practices drawn from robust research and the proven approaches of leading and peer arts organizations, with special emphasis on the topics identified in the SWOT analysis and a clear articulation of the recommendations that will underpin the final chapter of this report.
Engaging new supporters through a membership program expands your community and deepens engagement, turning casual supporters into committed advocates Best practices contextualize the organization’s weaknesses and opportunities, providing a clear framework that informs manageable and realistic recommendations.
The Board of Directors is the central governing body of a nonprofit organization
Board members fulfill essential governance duties for the organization, including developing policies and guiding and approving financial and strategic planning They also work to build organizational resources and serve as the organization’s ambassadors in the community.
Pelican Bomb should prioritize board composition when planning to recruit board members, as the board’s make-up directly influences organizational effectiveness A diverse board—with varied experience, capital, and networks—is essential for building and sustaining relationships with stakeholders, supporters, and partners, enabling the organization to operate more effectively and advance its mission.
According to Michael Kaiser in Leading Roles: 50 Questions Every Arts Board Should Ask, the number of board members is one of the most common questions in board development While many assume that a larger arts board increases reach, fundraising capacity, and visibility, the smarter approach is to favor a small, highly engaged board over a big, inactive one In practice, effectiveness comes from engaged, active members and their contributions rather than sheer size, so arts organizations should weigh engagement and impact when shaping their board composition and size.
When evaluating board composition, Pelican Bomb should look beyond the number of seats and prioritize the diversity of resources and networks its members bring Even with a smaller board, the organization has demonstrated success in achieving broad industry representation among its members, showing that impact comes from varied backgrounds, connections, and areas of expertise Focusing on resource and network diversity strengthens governance, widens partnerships, and enhances strategic decision-making, enabling the board to support the organization’s mission effectively regardless of size.
18 Michael M Kaiser, Leading Roles: 50 Questions Every Arts Board Should Ask (Waltham,
Expanding board membership to include representatives from multiple industries broadens the pool of potential sponsors, since people within a given sector tend to rally around the same donors Balancing board composition across diverse industries reduces reliance on any one field, helping protect the organization when that sector hits hard times—such as during the 2008 financial crisis—and underscores why cross‑industry governance enhances fundraising stability and long‑term resilience.
Board diversity takes many shapes, extending beyond a single trait to include a mix of professions, genders, ethnic backgrounds, and socio-economic origins A diverse board combines the necessary skill sets with broad lived experience, ensuring governance is informed by the constituents it serves By reflecting the communities it serves, the board gains varied perspectives that enhance decision-making, strategy, and accountability Emphasizing inclusive representation in leadership helps organizations navigate complex markets and drive sustainable success.
To illustrate board composition in a comparable Southern arts and culture hub, Burnaway in Atlanta—one of Pelican Bomb’s partners—offers a useful case study, as the organizations share a similar mission, structure, program, and budget Burnaway partners with Pelican Bomb to develop and implement the Critic-in-Residence program A review of Burnaway’s Form 990 shows a 14-member board of directors drawn from media/communications, education, law, banking, and arts and culture management, demonstrating a diversity of professions and access to extensive industry networks and resources that benefit a small arts organization Additionally, Burnaway’s governance includes three Atlanta-based practicing visual artists who serve on an advisory board, providing direct artistic expertise to the organization.
An advisory board can be a powerful way for an organization to tap into communities of potential supporters and audiences Like Burnaway, the Kennedy
The Kennedy Center in Washington, D.C maintains a community advisory board composed of residents and workers from a wide range of the city’s neighborhoods While board members don’t make large financial donations, they provide valuable insights that the Kennedy Center can use to better market its programming, helping align its offerings with community needs.
Burnaway’s board designates the Executive Director as an ex-officio member, a structure some organizations adopt to strengthen the link between governance and leadership, while others worry it may compromise the board’s ability to evaluate the Executive Director objectively Regardless of whether the Executive Director sits on the board, the relationship remains symbiotic, with the ED’s familiarity with daily operations and staffing informing board decisions The choice to have the Executive Director on the board should be made with careful consideration of the organization’s needs, capacity, and culture to ensure governance that supports effective leadership.
One of the main challenges I faced during my internship was limited access to information about upcoming projects and the organization’s long-term goals and direction This ambiguity, compounded by occasional unclear timelines and uncertainty about my own roles and responsibilities, made it difficult to align my work with strategic priorities and to plan effectively for both short-term tasks and long-term learning goals.
21 Board Source, Board Responsibilities and Structures - ‐ FAQs, 2013,
Pelican Bomb's internal communication challenges and unclear responsibilities sometimes made task execution difficult These issues could be mitigated by developing, revising, and sharing a strategic plan A strategic plan acts as a road map to the organization's goals and vision and has the potential to structure operations while informing staff of the strategies, vision, and programming on the horizon.
By including staff in project planning and organizational goal setting, the organization may see an improvement in employee engagement and efficiency
Nonprofit strategic planning mirrors a common business practice: it determines how staff time and organizational resources are allocated to advance the mission For-profits decide how much to invest in selling a product; for nonprofits, strategic planning allocates time, money, and capital to programs and services and shapes the organization’s overall priorities The benefits extend far beyond resource allocation, influencing finances, governance, and program development; however, many nonprofits either skip formal strategic planning or operate from plans that no longer reflect current priorities Because the process can be lengthy and costly—especially when consultants are involved—some organizations underestimate how a comprehensive strategic plan can strengthen decision-making, optimize time management, and steward human and financial resources A well-crafted nonprofit strategic plan clarifies the organization’s identity, communicates its mission, and guides new directions in programming, ensuring all initiatives align with impact and long-term goals.
Recommendations
Nonprofit organizations operate in a climate of intense competition for resources to fund programming and pursue their missions, and Pelican Bomb, an organization emerging from its incubation period, faces these pressures when competing with nonprofits that have established reputations, longer track records, and sustained donor loyalty As is typical for organizations of its size and capacity, Pelican Bomb lacks some of the organizational frameworks needed for optimal effectiveness, and the recommendations in this report are not exhaustive but are designed to initiate the creation and implementation of these essential frameworks.
Recommendations are designed to be easily adaptable and manageable for Pelican Bomb to adopt now or in the near future
Drawing on research and the practices of peer organizations, Pelican should expand its board to include more than five members from diverse sectors to bring essential fundraising skills and governance support for growth and long-term sustainability After recruiting and onboarding these new directors, Pelican Bomb should establish a small advisory board that includes local artists, collectors, and stakeholders to gather insights from its constituent communities.
Pelican Bomb recognizes that several early board members contributed valuable resources to the organization, but the board is not currently activated or fully engaged The board of directors is the main governing body of an arts nonprofit and brings a broad mix of skills, resources, and connections to the organization As Pelican Bomb seeks to grow its board and establish clearly defined roles, it should begin by drafting an effective governance structure and a targeted recruitment plan We have already determined that diversity is essential to board composition.
A carefully constructed board structure will help leverage the skills and resources of the board members
Pelican Bomb should begin drafting a committee structure in the bylaws to focus the work of board members on strategies that benefit the organization A committee handles tasks that require specific expertise or provides insight and advice to the board According to Board Source, the most common standing committees are finance, development, and executive, while many boards form ad hoc committees to address pressing issues, and the bylaws should allow for the formation of ad hoc committees.
Some boards operate under a “zero-based committee structure.” In an effort to prevent stagnation, weed out unnecessary committees, and foster leadership in all
Some boards reform their committees each year, a governance approach discussed by BoardSource in Do We Need Committees? (2013) This model requires both flexibility and a rigorous evaluation process that weighs the previous year’s accomplishments to shape the next cycle Although it offers distinct advantages for dynamic oversight, it may not be the right fit for every board, since success depends on having all members who are highly adaptable, deeply engaged, and able to practice self-reflection If Pelican Bomb adopts this structure, they should focus on recruiting board members who exemplify these qualities.
Regardless of how a board is structured, certain policies are essential to streamline its work and ensure effective governance Effective committees have clear job descriptions and goals, appoint a committee chair to facilitate broad member involvement, and stay mindful of deadlines and timelines They understand their role in advising the rest of the board and maintain a steady practice of evaluating their own work to improve performance.
Director and the board should work together to establish and monitor committees, as well as facilitate communication to the rest of the board
Some organizations invite nonvoting board members to serve in advisory roles, allowing them to bring additional expertise to the board without altering its formal structure These advisory members aren’t bound by the same liabilities or duties of care as voting directors and typically don’t make significant financial contributions to the organization For Pelican Bomb, this approach can enhance governance by adding depth of expertise while preserving the current board framework, and it can also function as a strategic recruitment tool to cultivate potential future board members.
Strategic planning doesn't require hiring an expensive external consultant; it hinges on a serious investment of time and thoughtful leadership from the board and senior executives A solid strategic plan clearly communicates the organization's vision, direction, and goals, translating them into actionable priorities and measurable outcomes With commitment from leadership and adequate resources, this process can be intensely collaborative and cost-effective rather than outsourced A well-crafted planning document anchors decision-making across the organization by outlining key initiatives, aligning efforts, and providing a roadmap for execution and progress tracking.
A planning framework to guide consensus and successful strategy implementation should be established before any planning begins Pelican Bomb’s board should agree on this framework to keep strategy discussions focused and organized The framework should adapt to the organization’s needs and goals, but always be rooted in the mission, which provides the foundation for setting objectives and guides how progress and success are measured in achieving them.
An effective planning framework helps avoid the common pitfalls of strategic planning As highlighted in the Best Practices chapter, an organization should collect data on its internal resources, strengths, and weaknesses, as well as information about competitors, threats, and opportunities, before determining its strategies A thoughtful and well-organized planning framework focuses this data collection to illuminate the factors needed to achieve the mission and strategic goals.
Pelican Bomb's upcoming board rotation and new member recruitment create a strategic planning opportunity to align everyone and activate fresh contributors As new board positions are established, Pelican Bomb should recruit members with the expertise to inform strategic planning and serve on an advisory committee that guides and monitors progress.
To promote alignment across the organization, the strategic plan should be shared with new staff, board members, and the public Because the document outlines the organization’s vision and goals for the coming years, it serves as a key tool to clarify the organization’s purpose, strategic priorities, and how operations will support those aims.
Onboarding new employees is one of the most crucial yet often overlooked aspects of hiring, and turnover remains a top challenge in the nonprofit sector, where the experience of the first few months in a new role heavily influences retention A well-designed onboarding experience sets the tone for engagement, productivity, and long-term commitment, so nonprofits should favor a formal onboarding process over a sink-or-swim approach In my time at Pelican Bomb, I observed the absence of any formal or informal onboarding, a pattern common in many arts nonprofits that leaves new staff without adequate support or coaching This lack of onboarding guidance is a damaging mistake that elevates turnover risk and undermines early performance and morale.
39 David Lee, Successful Onboarding: How To Get Your New Employees Started Off Right,
hire will leave, but it also sends a message that the organization doesn’t prioritize its employees
Pelican Bomb's turnover costs represent a financial liability that disrupts programming quality and organizational effectiveness To mitigate these costly consequences, the organization should adopt a hiring and retention strategy anchored by a structured onboarding plan An effective onboarding program drives higher job satisfaction, stronger organizational commitment, and improved performance, which collectively lead to lower turnover Investing in onboarding not only stabilizes teams but also enhances overall organizational effectiveness and long-term success for Pelican Bomb.
I recommend Pelican Bomb design its process to begin the minute an employee accepts a job offer Before the first day, the employee should receive a packet
To onboard a new hire at Pelican Bomb, deliver both hardcopy and digital materials that introduce the organization, including its mission and vision, the leadership and staff information, strategic goals, branding documents, and other relevant resources On day one, implement an incremental learning process built on four pillars—compliance, clarification, culture, and connection—to guide the newcomer through the onboarding journey Addressing these four areas creates a solid onboarding foundation that enhances retention and helps the employee reach high performance faster.
An orientation will usually cover some most of the compliance policies, but the onboarding process is still not complete after this stage For the employee to gain more
41 Talya N Bauer, Onboarding New Employees: Maximizing Success, SHRM Foundation’s
Effetive Practice Guideline Series, 23 September 2015