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NACA: GettiNG DowN to BusiNess
BACK to sCHooL 2011 Vol. 44, No. 2
Win-Win in the Marketplace is the Phone Dead? Entertainment Contracts: Understanding Them Re-envisioning Your Programming Board
BACK to sCHooL 2011 Vol. 44, No. 2
NACA: Getting Down to Business Win-Win Relationships between Schools and Agencies Tips for Student Programmers..................................................................6 By Denise Wallace Heitkamp, The College Agency (MN), and Grant Winslow, University of Wisconsin-Green Bay How New Associates Can Make the Most of Their NACA Experience ....13 By Gina Kirkland, Kirkland Productions, Inc./KP Comedy (CA) NACA Regional Conferences 2011–2012 ..............................................16 Preliminary Schedule for All NACA Regional Conferences..................17 Everybody in the Pool … Make a Splash and Volunteer for NACA! ................................................19 By Sally R. Watkins, Armstrong Atlantic State University (GA) Is the Phone Dead? Remembering to Talk in the Electronic Age ..........................................21 By Drew Pompilio, Dbuyer, Inc. (PA) Entertainment Contracts Understanding Them Is the Key to Good Programming......................24 By Greg Diekroeger, University of Wisconsin-Stevens Point
The Contract Is Signed … Now What Do I Do? ......................................29 By Beth Ann Shick and Emily Ta, Gannon University (PA) The Performer’s Perspective ..................................................................31 By Joshua S. Walker, Fresh Variety (NH) Creating an Event Safety and Security Blanket: Hire the Professionals....32 By Allen H. Ostroy, Green Mtn. Concert Services, Inc. (VT) From Band-Aids to Broken Bones: Preventing, Preparing for and Resolving Minor Event Issues and Major Crises ....................................37 By Jennifer L. Ferrell, Keene State College (NH), and Zach Beaver, Seton Hill University (PA) Re-Envisioning Your Programming Board Five Phases that Worked for Us ..............................................................44 By Joshua Luce, Sarah Lawrence College (NY) Student-Driven Programming Model: A Model for Campus Activities Boards ..................................................49 By Amanda Horne and Lacy Claver, Stephen F. Austin State University (TX) “To Boldly Go” Where No Programmer Has Gone Before....................54 By Chris O’Connor, Campbell University (NC) How to Win Members and Inﬂuence Students, Part I ..........................57 By Mitch Heid, St. Cloud State University (MN) So, You Want to Create a Street Team?..................................................60 By Katie Kelsey, Creighton University (NE)
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Assessment Turning Operation into Opportunity The Power of Integrating Data through Multiple Assessment Approaches ..............................................................................................63 By John D. White, PhD, StudentVoice (NY)
Leadership LEADERSHIP FELLOWS Creating a Dynamic Student Programming Board ..............................42 By Denise R. Poindexter, University of Illinois, Urbana-Champaign A Three-Tiered Approach to Leadership Development: Putting Theory into Practice ..................................................................66 By Henry C. Parkinson III, EdD, Fitchburg State University (MA)
NACA spotlight Challenges and Lessons Learned The University of Louisville’s Red Barn Thrives throughout Four Decades ......................................................................70 By Julie Onnembo, Dave Shaw, George Howe and Tim Moore, University of Louisville (KY) NACA® Foundation Succeeds with Convention Fundraising ..............74 Foundation’s 30th Anniversary Pledge ..................................................75 Upcoming Foundation Scholarship Deadlines......................................75 NACA® Chair Video Update......................................................................75 NACA Family Feels Impact of Tornadoes................................................75 Campus News............................................................................................76 Write for Campus Activities Programming™ ........................................77 Block Booking All-Year-Round Webinar ..............................................78 View Campus Activities Programming™ Online ..................................78 Call for Volunteers ..................................................................................78 Register for STARS® ..................................................................................78 Universal Calendar ..................................................................................78 NACA® Leadership ....................................................................................79
10 Questions with … Demetria Bell Anderson, Hiram College (OH) ......................................80
Columns Editor’s Page You Look Diﬀerent ....................................................................................4 By Glenn Farr Message from the Chair Happy New Year! ........................................................................................5 By Brian Wooten
ADveRtiseRs Entertainment Unlimited ..................................................................................23 Fantasy World......................................................................................................C2 Metropolis Management............................................................................40–41 NACA® Advancing Research in Campus Activities........................................47 NACA® Advertising..............................................................................................36 NACA® Block Booking........................................................................................28 NACA® Digital Library ........................................................................................27 NACA® Foundation ............................................................................................59 NACA® Online Bookstore ..................................................................................18
NACA® QR Codes ................................................53 NACA® Regional Conferences ..........................48 NACA® Scholarship Deadlines ..........................69 NACA® Social Media ............................................11 NACA® Strategic Plan ..........................................52 NACA® 2012 National Convention ..................C3 Redd Promo ........................................................C4
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You Look Diﬀerent GLENN FARR
S AN AMATeUR ACToR, AND SIMPLy AS A HUMAN BeINg who’s lived a fairly long time, I’ve had multiple opportunities or, in some cases, reasons to change how I looked. When I donned some elaborate costuming and/or makeup for a stage role, acquaintances might have said, “you look so diﬀerent that I never would have known you if I had bumped into you on the street.” When I changed my appearance for fashion or other personal reasons, the response might have been more varied, ranging from, “I like you with a beard” or “oh, I wish you hadn’t cut your hair.” Sometimes, the observer might not have been able to tell what I might have changed and simply said, “you look diﬀerent. What did you do?” With this issue of Campus Activities Programming™, I hope that, as you read it, you also say that it looks diﬀerent. But, you won’t have to ask what we did because I’m about to tell you. As NACA Chair of the Board of Directors Brian Wooten says in this issue’s “Message from the Chair,” this time of year is essentially New year’s for many who live, work and breathe Higher education. It’s the time when a new academic cycle begins and, with that, new cycles of programming and leadership development. Here in the NACA oﬃce, it’s also a time we oen take a look at Campus Activities Programming™ and decide what we can do to freshen it— sometimes a bit, sometimes a lot. While those who don’t work in publications might not pick up on any subtle changes included in the look of this issue, the larger changes should be readily apparent. From the cover onward, you’ll notice diﬀerent typefaces and cleaner layouts that help the magazine compare better with other contemporary publications, whether they be educational or commercial. As for the content, there’s even more for you to explore with regard to getting down to business as NACA starts its own new year. However, one new component of the magazine will help take you from the printed page to the electronic screen. Beginning with this issue, we will direct you to “Web-
Chair, NACA Board of Directors Brian Wooten Executive Director Alan B. Davis MARKETING & COMMUNICATIONS STAFF
Director of Membership Marketing & Events Dawn Thomas Editor Glenn Farr Graphic Designer Jason Jeﬀers Online Marketing Manager Wes Wikel Advertising Sales Tracey Portillo
Campus Activities Programming™ (ISSN 07462328) is published eight times a year by NACA (January/February, March, April, May, Summer, October, November/December) exclusively for NACA® members, Copyright © 2011 by the National Association for Campus Activities. Editorial, publishing and advertising offices: 13 Harbison Way, Columbia, SC 29212-3401. NACA full membership is restricted to institutions of higher learning; up to five subscriptions of Campus Activities Programming™ are allotted to member institutions based on full-time equivalent enrollment. Additional subscriptions are available for $95 each. Associate membership is restricted to firms whose talent, products, programs or services are directly related to the field of collegiate extracurricular activities; up to $144 of their membership fee is for up to three subscriptions to Campus Activities Programming™. Additional subscriptions are available to members for $95; to nonmembers for $95. Library of Congress card number 74-646983; Library of Congress call number PN2016.N32A3. Statements of fact and opinion, or other claims made herein, are the responsibility of the authors, letter writers, providers of artist performance reports, and/or advertisers, and do not imply an opinion on the part of the Campus Activities Programming™ staff, NACA® Office employees, or officers, staff and other members of the Association. All rights reserved, including the right to reproduce the
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exclusive” content that you can ﬁnd only on the NACA Web page. Check out “Challenges and Lessons Learned: The University of Louisville’s Red Barn Thrives throughout Four Decades” on Page 70. In this article, U of L staﬀ members share what they’ve learned from converting an old warehouse into a favorite campus programming venue. Then, if you want to know more about the venue, visit http://new.naca.org/MediaCenter/Pages/CampusActivitiesProgrammingMagazine.aspx to read a detailed history of its evolution. Next, explore Mitch Heid’s “How to Win Members and Inﬂuence Students, Part I” on Page 57. When you ﬁnish it, if you’re ready for Part II, visit that same URL where it will be waiting for you. When you reach the back cover, I hope you’ll agree that Campus Activities Programming™ does, indeed, “look diﬀerent.”
contents of Campus Activities Programming™, either in whole or in part. Any reproduction includes, but is not limited to, computerized storage of information for later retrieval or audio, visual, print or Internet purposes. All protections offered under federal copyright law will be strictly pursued, and no reproduction of any portion of this publication may occur without specific written permission from NACA. No material can be copied, in any form, if the purpose is to sell the material. Periodicals postage paid at Columbia, SC. POSTMASTER: Send address changes to Campus Activities Programming™, 13 Harbison Way, Columbia, SC 29212-3401. NACA, National Association for Campus Activities, Campus Activities Programming™, Programming, and all other designated trademarks, service marks, and trade names (collectively the “Marks”) are trademarks or registered trademarks of and are proprietary to NACA, or other respective owners that have granted NACA the right and license to use such Marks. NACA allows its members to promote their NACA® membership on Web sites and printed materials. However, this designation does not imply NACA sponsorship or approval of events or content. For questions about the use of the NACA® membership logo or to request permission to use it, please contact Dawn Thomas at firstname.lastname@example.org.
MESSAGE FROM THE CHAIR
Happy New Year! BRIAN WOOTEN
eLCoMe To THe NeW yeAR! Since I have been in Higher education for my entire professional career, my view of the New year has consistently diﬀered from that of many of my friends outside our ﬁeld. While they focus on Dec. 31 as the demarcation of the end of one period to the beginning of another and the time to reﬂect and develop resolutions for a year ahead, I have come to see that many of us in Higher education recognize the opening of school in this way. As a part of our New year, we welcome new students to our campuses and implement new programs and/or processes we have worked to develop for much of the summer in our attempt to connect more with our students and to provide them with increased opportunity for success. Much like the conventional New year, I oen make resolutions for ways I hope to make the academic year ahead diﬀerent than those previous. I oen resolve to maintain balance and not work more than 40 hours a week or too many weekends. (As with many conventional resolutions, I promptly abandon them very early!) This year is a bit diﬀerent than most. While I think we still remain excited about the year ahead, many of our members have been hit hard with budget cuts, furloughs and layoﬀs. Increasingly, most of Higher education has been scrutinized and our contribution to society has been brought into question. As I mentioned in our May issue, during these hard times, we must be prepared to engage in courageous conversations that, while uncomfortable, will elevate us as an association. As promised this past summer, the NACA Board of Directors has taken steps in this direction by initiating these conversations. In May, the Board approved the creation of four task force teams that I believe will do a great deal to move the Association forward. 1. Showcase Selection Task Force: This team
2. Conference/Convention Schedule Task Force: A number of years
ago, NACA moved to a uniform schedule to ensure that members were receiving consistency from region to region and that the National Convention provided the necessary focus from year to year. As we move into the fourth year of using the uniform schedule, it is time to evaluate this practice to ensure it is meeting the needs of the membership and oﬀering the necessary beneﬁts to our members. This team has been challenged to review the current National Convention and Regional Conference schedules and provide recommendations for altering them to provide increased beneﬁt to NACA members. Scott Lyons of Johnson & Wales University-Providence (RI) is chairing this group. 3. Campus Activities Deﬁnition Task Force: In our May Board retreat,
we engaged in a number of conversations regarding the deﬁnition of campus activities. At an earlier point in our history, it was clear: campus activities was basically deﬁned as bringing entertainment to campus. over the years, our roles have changed and have moved to also focus on student engagement, leadership, etc. We have asked Brian gardner of Maryville University of Saint Louis (Mo) to lead a group to help us redeﬁne what campus activities means. This deﬁnition has broad implications for us as an association and will serve as a foundation piece for our new strategic plan.
i have no doubt these four teams will oﬀer great insight and new opportunities for our Association as we move through these challenging times. they will lead us to making some changes i feel will beneﬁt the organization as we chart our new future.
has been created to evaluate and ensure continued improvement in the application and selection process for showcasing acts at all regional conferences and at the National Convention. The Board of Directors charges this task force with reviewing the current showcase selection process and making recommendations that will increase eﬃciency in both the submission and selection process in an attempt to elevate the talent and expand the market of showcasing artists and attractions, while also expanding the number of quality acts showcasing at NACA events. Amy Vaughan of embry Riddle Aeronautical UniversityDaytona Beach (FL) is chairing this group.
4. Membership Deﬁnition Task Force: As a compliment to the campus activities deﬁnition team, we have asked Kristie gerber of the University of South Florida-Tampa and her team to review our current membership structure and determine a structure that will support NACA’s future direction.
I have no doubt these four teams will oﬀer great insight and new opportunities for our Association as we move through these challenging times. They will lead us to making some changes I feel will beneﬁt the organization as we chart our new future. I have no doubt that this new year for NACA will bring about new resolutions that will posture us to provide our members with increased beneﬁt. As we continue these conversations and ultimately move to implementing changes, I invite you to be a part of this process. Please feel free to contact me at email@example.com or to participate in one of my twitter chats (@nacaboardchair) this year to express your thoughts. Again, this is going to be a great new year for all of us! enjoy the beginning of the semester and I look forward to seeing you at one of our fall events!
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win-win Relationships between schools and Agencies
Denise Wallace Heitkamp, The College Agency (MN)
tips for student Programmers 6 Campus Activities ProgrammingTM Back to School 2011
University of Wisconsin-Green Bay
NACA associate members know and understand that students change positions and/or graduate every year. If you are new to your programming board, the associate member you ﬁnd yourself dealing with at a regional conference or the National Convention can be one of your most helpful programming partners.
He FIRST TIMe We Do ANyTHINg CAN Be VeRy STReSSFUL. Most of that stress comes from not knowing what the process is going to be like, feeling like you don’t want to look like you don’t know what you are doing and not wanting to make a mistake!! This is natural, but these feelings can sometimes take the fun out of what you are doing. Being a new member of your programming board does not have to be this way! If you are a new student programmer, you must realize you are not the ﬁrst person to be new in your job, nor are you alone in the challenges you are facing. each year, program boards across the country experience turnover among their membership. New students assume programming positions and advisors and agents need to learn how each of them works. It is a learning process we all must work through together. Advisors can serve a role
in this transition period by introducing students to agents at NACA® Regional Conferences and the National Convention, as well as through phone calls. No matter how the working relationship begins, though, don’t be afraid to make mistakes. Agents who are members of NACA are used to working with new programmers. They understand that students change positions, graduate, etc. every year. They are accustomed to working with students in new positions and are there to help you learn the ropes. No matter whether you are presenting a coﬀeehouse show, a special event or a national act, ask your agent the questions you need to ask for your program to be successful. Don’t be afraid to let them know you need help. In fact, creating and maintaining win-win relationships between schools and agencies is easy as long as you remember the golden rule for any relationship—communicate! Back to School 2011 Campus Activities ProgrammingTM 7
Keeping Your End of the Deal For the win-win relationship to happen, each side has to keep up their end of the deal. For students, this means following through on basic responsibilities. • Make sure you are keeping your posted oﬃce hours. If an agent is trying to contact you and you are not keeping the oﬃce hours you said you would, you are not supporting your side of the relationship. • When agents leave messages for you, return those calls. Just as you would appreciate an agent returning your call seeking a band’s fee so you can get your budget approved, they need to hear from you about whether you will book their band so they can release the date if you don’t want the booking. • Follow through with what you tell the agent you are going to do. If you tell them you need to check with your committee, let the agent know when you are meeting and then check with your committee. Most agents and advisors have done enough committee work to understand that sometimes the initial response date comes and goes due to the inaction of a committee. • Let agents know the most convenient way to reach you. They truly want to reach you only at the time and in the manner that are most convenient for you. So, be sure to let them know what those are. For example, if you want to be called between 2 pm and 4 pm on Tuesdays or Thursdays, because that is when you maintain oﬃce hours, tell them that. If you prefer to be emailed rather than called, tell them that, too. A good agent wants to contact you only when it is appropriate for you.
STUDENT PROGRAMMERS: KEEPING YOUR END OF THE DEAL • • • • •
Keep posted oﬃce hours. Return calls. Follow through on what you say you will do. Let agents know the best way to reach you. If you’re ﬁnished booking for the semester, let the agent know when you will resume. • Be direct about acts the agent represents. • Don’t burn bridges.
• If you are ﬁnished booking for the semester and won’t be booking for the following semester until a speciﬁc date, share that date with the agent. It is then the responsibility of the agent to document
those call times and contact dates you speciﬁed and get back to you accordingly. • Be direct with the agent regarding the acts they represent. If you are not interested, say so and let the agent move on to another school. Don’t be afraid of hurting their feelings. Agents also need to know if an act you booked didn’t live up to expectations, just as advisors need to know if students aren’t doing their jobs. Don’t be afraid to tell an agent that the comedian you hosted last night didn’t perform as expected. With that knowledge, the agent can make sure the next school has a better experience. • Remember that your actions today reﬂect on your programming board for years to come. you are likely to spend a maximum of four years in your role as a student programmer. However, your advisor and the agents you work with will be working with each other for a long time. your actions will reﬂect on your organization and your school and may impact the relationship between your advisor and agents long aer you’ve graduated. So, don’t burn bridges.
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Forms of Communication: Cold Calls, Email and Snail Mail Cold Calls Throughout the year, you will oen receive calls from agents asking you if you would be interested in booking this act or that—without you having any prior knowledge of the act itself. This is a cold call. As a student programmer, it is your responsibility to listen politely to the agent and determine whether the act is appropriate for your campus. Again, honesty is the best policy. oen, at the time you get such a call, your budget is committed for the semester or you may be booked solid. Whatever the case, just say so. It may be that your school is rural and the act in question is a hip-hop act and is not likely to go over well with your student body. If that’s true, tell the agent what kind of acts will work for you. If you are not prepared to talk to the agent at the time of the call, ask them to call back when you can give them the attention they deserve, answer their questions and ask intelligent ones of your own. Always be polite and professional. even if you aren’t booking their acts today, you are likely to work with them in the future. However, if you have no intentions of bringing an act to campus, do not ask to have information mailed to you if you will not use it. Just say, “No thanks.” Agents make lots of cold calls and for good reason. Such calls allow them to inform you of acts that may be coming through your area at a particular time or of new acts that are unique and are oﬀering a special ﬁrst-time deal. Cold calls allow schools an opportunity to save money, and oen lots of it, if you are in a position to take advantage of the deals they convey. However, if you are not interested or your schedule is full, be straightforward with the agent and they will move on. An agent’s second favorite word is “no.” They would much rather you be honest and be able to move on to their next client than to think you might be interested in an act and there is a need for continuing follow up. you will not cause ill will by being honest and direct. However, being evasive and indeﬁnite can negatively impact your relationship with the agent. Always remember that an agent can be a great resource in your search for new acts. If you are seeking a speciﬁc type of act they don’t represent, they can oen give you recommendations of where to look. Email email messages have become an increasingly popular way for agents to share information about artists’ schedules, CD releases and touching base with both individual programmers and program boards. For students, it is an easy way to communicate with associates, especially when neither party is in the oﬃce. However, it also comes with a few downsides. What agents must remember is to respect students’ privacy by using the organization account for booking communications, using personal email accounts only when the account holder has given them permission. It’s also important for agents to remember that many campus email systems block emails sent to huge distribution lists and to check with programmers to make sure the information is getting through. Students must learn to recognize that although many emails are sent through huge lists and do not require a response, others are more direct and deserve an acknowledgment of receipt, just as you would return a phone call. Never respond to a phone message with an email. A phone message should be returned by phone. However, it is acceptable to respond to an email message by email or phone. With the amazing advancements PRIMARY FORMS OF in technology, programmers today SCHOOL-AGENT have many options for communiCOMMUNICATION cating with associates. However, from a professional standpoint, tex• Cold Calls ting should not be one of them. Al• Email though texting is a great way to pro• Snail Mail vide quick information to people,
when it comes to negotiating or sharing event details, texting should not be used. If you are a new programmer, please use a business email address or telephone number for agents to get business done. Snail Mail Snail mail—it’s old-fashioned and low-tech, but it works. Although most communication between schools and agents these days is accomplished electronically, many agents still send out press and promotional packages via mail. If you receive such a package, please extend the courtesy of reviewing it so when the agent follows up, you can talk about the information it contained and aren’t bluﬃng your way through the phone call because you threw the packet away. If an agent sends you promo, they will follow up to see if you received it and if you have had a chance to review it. Be prepared to let the agent know a time frame that is reasonable for them to touch base with you for a conversation about the materials—aer you’ve had time to review them. Be prepared to let them know what you think. If you want additional promotional materials, let the agent know. But again, if you’re not really interested in receiving printed information, be honest about it. Promotional materials are expensive for the artist and agent to produce and send. oen you will also receive unsolicited ﬂyers in the mail from independent artists, some associated with NACA and some not. Take the time to follow up on these because you never know who you will ﬁnd. For example, several years ago the co-author of this article (Winslow) received an 8 1/2 x 11 tri-folded sheet of paper in the mail from a Chicago area singer/songwriter. Aer checking the artist’s website, his students decided to book the artist for their new coﬀeehouse series. While the artist was on campus, the advisor told him all about the wonders of NACA and the artist eventually signed with an NACA agency and has now showcased at the National Convention and a number of regional conferences.
Crucial Times for School-Agent Communication When You Are Ready to Book When you are ready to book an act, know the following when you talk to the agent. Whether you are a seasoned or new programmer, this checklist will help make the process smoother. 1. The act in which you are interested. 2. The date or dates in which you are interested. 3. your budget. (Make sure you have included in that budget travel costs, housing, meals and production.) 4. What production you can provide (level of sound, lights, staging, etc.). 5. Make sure you request a copy of the act’s technical and hospitality riders, if they apply. Review this information with the agent and be clear as to what you need to provide. If there is something you don’t understand, don’t hesitate to ask. 6. Know the performance timeline: • Artist arrival time; • Show starting time; • Duration of performance; • end time; and • Whether there will be a break and, if so, how it will be handled. 7. The performance location. (Be sure to have checked the room’s availability on the date you want before the call with the agent takes place.) 8. Appropriate contact information: • The contact for the event; • The on-site contact; and • An emergency phone number and cell phone number for the day of the event. (This is very important!)
When You Are Ready to Request a Contract When you are ready to request a contract, be sure to have the following information ready: 1. The person who is authorized to request a contract—can the student programmer request the contract or does it need to be done by your advisor? If it is the advisor, make sure to let the agent know your advisor will be calling to request the contract once you complete the negotiations. 2. The person authorized to sign the contract—make sure you know the correct spelling of that person’s name and their title. 3. The correct address for where the contract should be sent. 4. What you need to do to process the artist’s check and whether it will be ready to provide to the artist on site at the conclusion of their performance. If for any reason the check will not be ready, it is important that you inform the agent of this in advance so that they can inform the artist and the artist can plan accordingly. 5. Whether your school needs to issue its own contract or whether the agent’s contract will be suﬃcient.
CRUCIAL TIMES FOR SCHOOL-AGENT COMMUNICATION • • • • •
When you’re ready to book; When you’re ready to request a contract; When you’ve booked the act; When providing hospitality; and When the show is over.
Once You Have Booked the Act Perhaps one of the most crucial communication opportunities you share with an agent occurs when you have actually booked a show. Promotional materials are oen available for you from the artist to help you in promoting the upcoming show. During this timeframe, make sure you make the agent aware of your promotional needs and they will coordinate getting you the items that are available. In most cases, you can request posters, photos, CD copies, video footage, etc. Advancing the show is important during this time. While some artists’ contracts are very detailed, many simply reﬂect time, date and place, as do most school contracts and riders. So make sure you maintain periodic communication with the agent and advance the show to avoid surprises. Some of the things to discuss with the agent prior to the act arriving on campus should include: • Changes that might have occurred since you booked the act— There are many times when personnel within an act change or technical and hospitality riders are updated as tours progress, but are not forwarded to pre-booked schools. If you have a tech crew, make sure they have the artist’s rider and the artist has the tech’s oﬃce phone number. The artist or the artist manager and the technician for your school should communicate directly. As a student programmer, it is important not to try to coordinate those needs yourself. Let the experts (the act and the tech crew) talk directly. • Make sure you have the artist’s cell phone number and the artist has the show contact’s cell phone number—This is critical to ongoing eﬃcient communication. Having each other’s wireless phone numbers can prevent much confusion, such as when the artist is lost somewhere on your campus and you need to help them ﬁnd the venue. • Discuss hotel reservations—Make sure you have the right amount and kind of rooms: doubles vs. singles, smoking vs. nonsmoking, etc. • Arrival and Pick-up Times—Make sure you are clear on artist pickup and arrival times. Request a copy of the artist’s ﬂight itinerary when applicable.
Back to School 2011 Campus Activities ProgrammingTM 9
When Providing Hospitality When the artist arrives at the venue, there will likely be extra requests that were not included on the hospitality or technical riders. If they ask for a cup of coﬀee or tea, for example, get it. Don’t make it an inconvenience—your job is to take care of the artist. If you do that, they will take care of your audience and you will have a great show. Remember, the program is NeVeR about you as the “programmer”—rather, it’s about providing an event your fellow students will enjoy and remember. When the Show Is Over one of the most important things you can do to ensure a win-win relationship with the agent actually comes aer the show as part of your follow-up. It is important to let the agent know how the show went. Tell them the things you loved and anything that may not have gone well. This is the only way the agent can help the act improve and resolve any issues before they perform at another school. Agents appreciate your feedback because they want to be sure they are providing a quality product to schools. Also, be sure to submit an Artist Performance Report (APR) online at http://www.naca.org/Entertainment/aprs/Pages/default.aspx. APRs can help programmers at other schools make decisions about booking acts.
Win-Win in the Long Run Perhaps one of the most exciting things to come out of good relationships between programmers and agents are opportunities outside of the normal school-agent relationship. Developing good rapport with agents can oen open doors to summer internships, future jobs and long-lasting friendships. What you are doing now as a student programmer involves, in many ways, more responsibility than many people shoulder in their ﬁrst jobs out of college. If you develop a great relationship with an agent and they can speak to your skills in management, communication and execution, they can become a valuable professional reference. The relationship between student programmers and agents can be very special. your agent can become someone you trust and who can make your job so easy. They work hard to get you great acts for great prices. But beyond that, they can become valued friends. They can be a great resource for networking and for potential job opportunities down the road.
An agent’s second favorite word is “no.” They would much rather you be honest and be able to move on to their next client than to think you might be interested in an act and there is a need for continuing follow-up.
About the Authors Denise Wallace Heitkamp is president and managing partner of The College Agency (MN). She is currently serving as the Associate Member Projects Coordinator for the NACA® Northern Plains Region and was named Associate of the year for that region in 2011, 2009, and 2004 and, in 2005, was named the Sarah Boatman Award Recipient. She has been a member of NACA since 1999. Within the Association, she has served as the Associate Member Representative to the executive Committee of the NACA® Board of Directors, as a member of the Northern Plains Regional Conference Program Committee, and as a member of the former NACA® Wisconsin Region Leadership Team and was named the 2002 Associate of the year in that region. Additionally, she has served on the board of directors for the Minnesota Music Academy, fulﬁlling the roles of secretary and committee chair for the Minnesota Music Awards. Heitkamp is also the owner of Future Productions, an event production ﬁrm. She holds a bachelor’s degree in journalism and public relations from Radford University (VA), where she served on the campus programming board. Follow her on Twitter: @collegeagency.
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Grant Winslow is program coordinator of the oﬃce of Student life at the University of Wisconsin-Green Bay. In NACA, he serves as the Professional Develop-
ment Programs Coordinator for NACA® Northern Plains. He previously served as NACA’s National Cooperative Buying Coordinator, as well as cooperative buying coordinator for the former NACA Wisconsin Region and Associate Member Relations Coordinator for NACA® Northern Plains. He holds a bachelor’s degree in international political science from the University of Wisconsin-Stevens Point and a master’s degree in counseling from Lakeland College.
Wherever you go, there we are.
Back to School 2011 Campus Activities ProgrammingTM 11
Some student delegations are well prepared for the conference and get right down to business when visiting associate membersâ€™ booths in CAMP.
Observing Block Booking meetings can help associate members monitor buying trends.
12 Campus Activities ProgrammingTM Back to School 2011
How New Associates Can Make the Most of their NACA experience By
Gina Kirkland Kirkland Productions, Inc./ KP Comedy (CA)
T’S ALMoST BACK-To-SCHooL TIMe! And while students and staﬀ are preparing to return to campuses across the country, NACA associates are also preparing for the new school year. We have submitted our showcase applications and received some of our showcase announcements, and now it’s time to prepare for the whirlwind of the fall regional conference season. If you are new to the college market and trying to ﬁnd the best way to reach college buyers, these are just a few thoughts on making this fall a great success!
So, I didn’t get a showcase ... one of the most frequently asked questions from new associates is how to handle conference season if you didn’t get a showcase. Does this mean you shouldn’t attend the conference? Deﬁnitely not! Attending conferences without a showcase is one of the best ways to increase your likelihood of getting a showcase in the future. There is no better way to understand the market and what students are buying than attending, meeting the students, and seeing what is really clicking with these buyers. In addition, once you have attended the showcase, be sure to show up to the Block Booking Meetings, as well. you don’t have to have an act being discussed to show up and observe. This will allow you to witness buying trends in action.
Working with colleges is an investment of time and money, and once you are at the conference, you should make the most of that investment by attending as much of the conference as possible. There are several components that are key to maximizing your experience. The anatomy of a conference ... • The Marketplace (the Campus Activities Marketplace, otherwise known as CAMP) is where you will have an exhibit booth and meet with buyers. • Showcases are your opportunity to see performances by the acts that were chosen in showcase selection and see how the campus buyers respond to those acts. • The Staﬀ/Associate Member Reception takes place on the ﬁrst night of the conference aer CAMP closes and is a great opportunity to mingle with staﬀ from the campuses in attendance, as well as your fellow associates. • Block Booking Meetings (three during the conference) are essentially formal meetings to establish dates and routing for artists in which the buyers in attendance have expressed interest. This is where the magic happens! • Meals—there are three meals that are part of the conference program,
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including the Conference Dinner on the ﬁrst night, the Conference Luncheon on the second day, and the Closing Banquet on the ﬁnal night. Seating for the Conference Dinner and Closing Banquet is in rounds, so ﬁnd an empty seat with a campus delegation and get to know new people. This is a great place to make connections. • Educational Sessions are sometimes geared towards associates, but most are designed with professional staﬀ and students in mind. However, this doesn’t mean you can’t attend and observe. you will feel more in tune with the conference by participating and you might learn something new about trends and practices on campuses. • Associate Member Orientation takes place on the ﬁrst day of the conference in the aernoon. It is well worth your while to work your booth setup around attending this important meeting. Many conference basics will be covered at this time and you will be able to meet your associate volunteer team. If you have questions later in the conference, these are the perfect people to answer them for you. Planning a booth setup ... you do have a sales oﬃce at the conference—this is your booth in CAMP. Planning for your booth can be daunting the ﬁrst time you do it. As a guideline, remember that you have a 6’ table, two chairs, and a curtained backdrop from which you can hang things. electricity needs to be requested ahead of time if you want it available on site. Be creative! you want your booth to stand out and to be inviting to students. Be sure you have signage that makes it clear what you do and can be read from at least 10 feet away. As students are walking down the aisle and glancing at the booths, they are more likely to stop if they know what you are marketing. I also highly recommend that no matter what design concept you use, you bring pens, packing tape, a notepad, a highlighter and scissors.
Everyone has a diﬀerent take on what works best for them with marketing materials and it does take some experimenting to ﬁnd the perfect ﬁt, but a good general recommendation for associate members is to be selective about what they hand out.
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Working with student buyers ... The campus market is unique for many reasons, but one of my favorite aspects is the educational component. Some of the students we are dealing with through NACA are seasoned pros and some are new to working with their campus programming oﬃce. Their interactions with us may, in fact, be their ﬁrst real business experiences. There is a learning curve here; and if we can keep that in mind, this is a great opportunity to turn a situation that could otherwise be frustrating into a chance to help a student grow in an aspect of the business with which they are not familiar. Not only is this something we encounter when selling dates and executing contracts, but also in the CAMP. Some student groups will have received extensive preparation and training for their conference experience. They will enter the booth, ask about the product/act, tell you what their role is in their campus group, and know if the product/act is a ﬁt for them and if so, what dates they have available for booking. Some student groups will wander into the booth and not really know how to proceed from there. others will walk past the booths, making as little eye contact as possible. I hear a number of associates complain about students who don’t want to talk to them, but it is our job to take the lead on improving these interactions. Keep in mind that the Marketplace can be intimidating to students, especially if this is the ﬁrst time they have been exposed to this type of environment. As associates, it is our job to maintain a friendly and open atmosphere in the way we present our product/act to ensure that the students will feel comfortable coming into the booth and speaking with us. I have found in my experience, over the years, that the less pushy and aggressive we are in the booths, the more comfortable students will be in engaging with us; thereby increasing the chance that we can share our oﬀerings with potential buyers. No one wants to get stuck in a neverending sales pitch for a product in which they may have no interest.
Often, it’s the associate member who must take the lead in discussions that take place in CAMP because many student delegates are new to the NACA® Regional Conference experience.
And, truthfully, not every student will be interested in your product. There are some campuses that send one or two delegates who are in charge of handling all aspects of programming, but most have multiple delegates and each is in charge of a speciﬁc area. you might notice this on name tags, i.e., Comedy Chair, Lectures and Film Coordinator, etc. you will also ﬁnd some campuses that do NoT program novelties or speakers, etc., because they have learned from experience what works for them. you can lead the conversation in your booth to ﬁnd the students who are potential buyers for what you are selling. Suggestions for initiating booth conversations ... I prefer to open a booth interaction with a question or two to establish who I am speaking with and how I may (or may not) be able to assist them with their programming. examples include: • What campus do you attend? (This is listed on the name badge, which you can sometimes read if it is facing forward and you have good eyesight.) • What campus group are you a part of? • What kind of events do you book? • Have you had (insert what you are selling) on your campus in the past? Allow the students a chance to tell you about the kinds of programming that interest them. once you have gotten to know a little more about the person in your booth and established that they are a good ﬁt for what you are selling, it is time for the sales pitch. I highly recommend that you work on reﬁning a sales pitch before you get to the conference and that your sales pitch is no longer than 60 to 90 seconds. If they express interest past that point, you can elaborate.
Marketing materials—What is the best ROI (return on investment)? once you have presented your sales pitch, you want to have something to hand the potential buyer to take back to campus with them. everyone has a diﬀerent take on what works best for them with marketing materials and it does take some experimenting to ﬁnd the perfect ﬁt, but my general recommendation is to be selective about what you are handing out. Some enthusiastic new associates may spend $10 to $25 each on materials that they intend to hand out to every student. That is a huge ﬁnancial investment that may not have a strong return. Not every student is going to be a potential buyer and those pricey materials (T-shirts, DVDs, CDs, high-dollar sample products) might be enjoyed and appreciated, but may not lead to a sale. I recommend that you keep the samples you hand out en masse at an inexpensive price point and that you have an inexpensive postcard, ﬂyer or one-sheet you can hand out in general. If you have more expensive items that really show oﬀ your product or act well, save those for the truly interested buyers. Students love the goodies, but just because they like your T-shirt does not mean they are deﬁnitely going to book your band. These are discerning buyers and they are more likely to book a band whose music they think is a great ﬁt for their campus environment than the band with the best promotional materials. you might get into a conversation and realize that while you book speakers, you are speaking to the music chair. If that is the case, you can ask that student to take a handout with them and give it to their speaker chair. Many student groups compile all of the information they collect when they get back to campus and divide it up among responsibility areas. If you can get your materials into someone’s hands now, it might end up with the right buyer down the line. Another tool that is used in the Marketplace is the collection of contact
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information from interested potential buyers for follow-up later. At the start of the conference, you will receive a delegate list that has general contact information, but not every student’s information is listed there. So, you can oﬀer a sign-in sheet to collect that information for later use. Finally, don’t be oﬀended if the students in your booth don’t want any marketing materials. This is especially true for the professional staﬀ from the campuses who oen come by to say hello, but let their students collect the materials. When I was a student attending NACA conferences as a buyer, we had to bring a tote bag with us to the conference just to store all of the materials we collected in the marketplace. That small tote seems to have morphed into the need for a large suitcase or two over the years. It’s a lot of stuﬀ to carry!! Some students might ask that you follow up with them at a later time or mail the materials to their campus. All good things must come to an end ... once you have presented your product, given your sales pitch and handed out marketing materials, you are sometimes le with a student staring blankly at you, unsure what happens next. This is another time it is important to keep in mind that this whole business/sales interaction might be new to the student. They may be ready to move on to the next booth and not know how to make a clean getaway. It really helps to oﬀer them an out, such as, “It was great to meet you. enjoy the rest of the conference!” Decreasing the awkwardness is appreciated and makes the conference more enjoyable for everyone.
Back at the oﬃce ... My favorite conference sales tool is the delegate list. I keep detailed notes on who I spoke with, what we talked about, and when I should follow up. Then, when I get back to the oﬃce, I am in a great position to follow up. Some schools attend the conference to do business and a lot of business is done on site. However, many campus delegate teams attend to get ideas and handle their business aer they return to their campuses. There are oen committee meetings, votes, etc., that take place before they are ready for follow-up conversations, so it is always best to allow some time aer the conference before you reconnect. The college market is extremely rewarding and conferences are a great time to meet a group of people who are dedicated to bringing the best in programming to their campus population. As you prepare for the season, if you have any questions, a great resource is your Associate Member Liaison or your Associate Member Projects Coordinator for the regional conference you are attending. The contact information for these volunteers can be found at http://www.naca.org/Volunteers/Pages/Current Volunteers.aspx. Here’s to another great NACA fall conference season!
About the Author Gina Kirkland is president of and an agent with Kirkland Productions, Inc./KP Comedy (CA). She previously worked in
Corporate events with Cadbury Schweppes and as an event planner with Ramada. She served on the Student Activities Board while a student at Amarillo College (TX), where she earned an associate’s degree. She later earned a bachelor’s degree in literature from West Texas A&M University. Active in NACA, she has served as the Associate Member Representative for NACA® West and NACA® Central, which honored her with its Markley Award and outstanding Service Award. Follow Kirkland Productions on Twitter: @KirklandProd. Follow KP Comedy on Twitter: @KPComedy.
NACA Regional Conferences 2011–2012 NACA NoRtHeAst Hartord, CT | Nov. 17–20, 2011
NACA MiD AtLANtiC NACA NoRtHeRN PLAiNs St. Paul, MN | March 29–April 1, 2012
NACA MiD AMeRiCA
Spokane, WA Nov. 3–6, 2011
16 Campus Activities ProgrammingTM Back to School 2011
Buﬀalo, NY Oct. 9–12, 2011
Covington, KY | Nov. 10–13, 2011
Tulsa, OK | Oct. 20–23, 2011
Myrtle Beach, SC Oct. 13–16, 2011
Preliminary schedule for All NACA Regional Conferences (Regional variances Noted in Parentheses) DAY 1
11 am–7 pm ..................CAMP Loadin/Associate Member Registration 11 am–7 pm ..................School Conference Registration 2 pm–2:45 pm ............Conference Welcome/Kick-Oﬀ 3 pm–4 pm ..................Educational Session 1 (Block Bookers’ Orientation) 4:15 pm–5:15 pm ........Sampler Showcases (South/NST) 4:15 pm–5:15 pm ........Associate Member Orientation 4:30 pm–5:15 pm ........Latecomer’s Conference Orientation (if applicable) 5:30 pm–7 pm ..............Conference Dinner (NACA Northeast and NACA Central oﬀer a Special Events Showcase during this time slot) 7 pm–8 pm ....................Campus Activities Marketplace Grand Opening 1 8:15 pm-10:20 pm ......Spotlight Showcase 1 10:20 pm–11:30 pm ..Campus Activities Marketplace 2 11:35 pm–12:35 am......Staﬀ/Associate Member Reception & Speed Networking 11:35 pm–12:35 am......Special Events Showcase
9 am–4 pm ....................Registration Open 9 am–10 am ..................Block Book It Now Meeting (NACA South holds a Block Booking Rally 30 minutes before the Block Book It Now Meeting) 9 am–10 am ..................Educational Session 2 10:10 am–11:10 am ....Educational Session 3 (Block Booking Meeting if needed) 11 am–3 pm ..................Graduate Program Fair/Information Center 11:20 am–12:20 pm ....Conference Luncheon (NACA Northeast oﬀers a Special Events Showcase during this time slot. NACA West holds the School Swap at this time.) 11:20 am–12:20 pm ....Professional Development Luncheon (Professional Staﬀ/ Grad Students— Purchased Ticket Required) 11:20 am–12:30 pm ....Associate Update with Lunch 12:25 pm–1:45 pm ......Lecture Showcase 1:30 pm–3:00 pm ........Professional Educational Session 1 1:50 pm–3:05 pm ........Campus Activities Marketplace 3 3:10 pm–5:15 pm ........Spotlight Showcase 2 5:15 pm–7:30 pm ........Dinner on your Own/ Diversity Networking Opportunity 7 pm–7:45 pm ..............School Showcase Set-Up 7:40 pm–9:45 pm ........Spotlight Showcase 3 9:45 pm–11 pm ............Campus Activities Marketplace 4 11 pm–12 am ................School Showcase (NACA West Student Social occurs during this time slot.)
9 am–5 pm ....................Registration Open 9 am–10 am ..................Educational Session 4 9 am–11:10 am ............Block Book It Now Meeting 10:10 am–11:10 am ....Educational Session 5 11 am–2 pm ..................Discover NACA 11:20 am–1:05 pm ......Spotlight Showcase 4 1:05 pm–2:30 pm ......Lunch on your Own/ Delegate Meeting 2:30 pm–4:35 pm ......Spotlight Showcase 5 2:45 pm–4:15 pm ........Professional Educational Session 2 4:35 pm–5:35 pm ........Campus Activities Marketplace 5 6 pm–7:30 pm ..............Closing Banquet and Awards Ceremony 7:45 pm–9:50 pm ........Spotlight Showcase 6 9:50 pm–11:15 pm ......Final Campus Activities Marketplace 6 11:15 pm–12:15 am ......Block Book It Now Meeting 11:15 pm–12:15 am ....Campus Activities Marketplace Load-Out 11:15 pm–12:15 am ....Special Event Showcase (NACA Mid Atlantic and NACA Northeast Special Events Showcase runs until 1:15 am)
otHeR ReGioNAL vARiANCes DAY ONE West: 2:30 pm–3:45 pm........Kick-Oﬀ and Sampler Showcase Central: 2:45 pm–3:45 pm ........Networking Session Mid Atlantic 2:45 pm–3:45 pm ........Sampler Showcase Mid America: 3 pm–4 pm....................Conference Kick-Oﬀ/Sampler Showcase Central, Mid Atlantic, Mid America and West: 4 pm–5 pm....................Educational Session 1/Block Booking Orientation
DAY TWO Day Two Dinner on Your Own at West will end at 8 PM. Other activities will begin and end 25 minutes later. DAY THREE Day Three Lunch on Your Own at Central will last two hours. Spotlight Showcase 5 and CAMP will begin and end 30 minutes later.
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Everybody in the Pool …
Make a SPLASH and Volunteer for NACA!
If you don’t hold an NACA leadership position, but still want to volunteer for the Association, be sure to check out the Volunteer Center at your regional conference or at the National Convention. You will ﬁnd listings of things that need to be done to help the regional conference or National Convention ﬂow more smoothly, you’ll get to work behind-the-scenes at a major event, and your assistance will be greatly appreciated.
Sally R. Watkins Armstrong Atlantic State University (GA)
We student activities professionals spend a significant amount of time exhorting the value of being engaged and participatory in the campus community. We encourage our students to join clubs and organizations. We suggest they take on leadership roles and we exalt the benefits of community service and volunteering. Are you ready to walk the talk, toe the line, set the standard—to adhere to all the euphemisms we use when challenging and supporting our students? Why not dive right in and volunteer for the National Association for Campus Activities? Becoming a volunteer on the regional or national levels with NACA is an excellent opportunity to network, develop skills, support NACA and demonstrate a commitment to furthering our profession.
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Making Connections As we navigate our career paths, the connections we make are pertinent to our success. our mentors, peers, future supervisors, co-workers, classmates and vendors are all current or potential NACA volunteers. Volunteering for the Regional Conference Planning Committee or for the National Convention grows your professional network, providing an opportunity for you to cultivate beneﬁcial relationships and assisting in achieving your career aspirations. Let’s face it: negotiating the ebb and ﬂow of our careers is much easier when we have solid working relationships within the profession. Wide Variety of Volunteer Roles NACA oﬀers a wide variety of volunteer roles, with each of the speciﬁc positions affording individuals the chance to develop new skills and bolster their résumés. Wade into the shallow end or make a big splash. either way, you are sure to cultivate skills beneﬁcial to your current professional role. Volunteers manage budgets, recruit members and submit and present educational sessions. Additionally, an NACA planning team accomplishes its tasks from all over the region and country. Learning to coordinate and implement major programming conferences from a distance via phone, web meetings and e-mail messages introduces you to new ways of collaborating.
vention was June 1, some deadlines occur later in the fall and details are on available on the NACA website. If it’s too late to apply this year for a position that appeals to you, consider applying early next year. If you have questions about volunteer opportunities, contact gordon Schell in the NACA oﬃce at firstname.lastname@example.org. Also, keep in mind that one of the easiest ways to volunteer is to oﬀer a helping hand on site at your regional conference or the National Convention. Check with the Volunteer Center, usually located near registration at your conference or at the Convention. Willing volunteers are always needed to help the Convention and conferences run smoothly. Don’t forget you can write an article for Campus Activities Programming™, NACA’s ﬂagship publication. Articles and ideas are accepted year-round, so contact editor glenn Farr at email@example.com.
Why not dive right in and volunteer for the National Association for Campus Activities? Becoming a volunteer on the regional or national levels with NACA is an excellent opportunity to network, develop skills, support NACA and demonstrate a commitment to furthering our profession.
Beneﬁts for Students essential to the success of campus programs is the opportunity for our students to attend conferences, make connections and develop their personal programming skills. The NACA® National Convention and each of the Association’s seven regional conferences are essential to the translation of information for and cultivation of successful programming boards.
Before You Take the Plunge Before you get involved, consider a few important details. First, speak with your current supervisor. ensure that the department and division are supportive of your volunteering. Second, recognize that volunteering is a time commitment. Many volunteer positions require you to be involved for a year, that you participate in conference calls and midyear meetings, arrive early for conferences, review educational session submissions and step up when challenges arise. Be honest with yourself about adding more to your plate and still being able to stay aﬂoat. Don’t be the pool ﬂoat with a slow leak, be the one that keeps everybody swimming.
Make a SPLASH! Aer you’ve weighed your priorities and responsibilities, go ahead; make a big SPLASH and become an NACA volunteer!
Easy to Get Your Toes Wet Are you new to the profession or are you a graduate student? Many committee positions are excellent for getting your toes wet as an NACA volunteer. For example, check out these positions on the NACA website (http://www.naca.org/Volunteers/Pages/default.aspx): graduate Intern Coordinator, Diversity Initiatives Coordinator or Volunteer Logistics. easing into the pool ensures volunteers are familiar with the necessary planning processes and are able to identify future volunteer roles. The NACA website’s home page (http://www.naca.org/Pages/Home.aspx) is an excellent place to start exploring the waters. Under the Volunteer tab, you will ﬁnd information including position descriptions, deadlines and volunteer resources. While the deadline to apply for most National Convention and regional conference volunteer positions for Fall 2011 and the 2012 National Con-
About the Author Sally R. Watkins is associate director of Student Union and Activities at Armstrong Atlantic State University (GA). She previously worked in residence life at emory University (gA), California Polytechnic State University-San Luis obispo and the University of georgia and in student activities at Scottsdale Community College (AZ) and Arizona State University. Active in NACA, she is currently serving as the Adviser Networks Coordinator for the NACA® South Regional Conference Program Committee, aer having served as its graduate Intern Coordinator in 2010. She holds a bachelor’s degree in communication from the University of Alabama, a master’s degree in art education from North georgia College & State University and a master’s degree in higher and post-secondary education from Arizona State University. Follow her on Twitter: @sllybean.
20 Campus Activities ProgrammingTM Back to School 2011
is tHe PHoNe DeAD?
Remembering to talk in the electronic Age By
Drew Pompilio Dbuyer, Inc. (PA)
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VeRy NoW AND THeN, I ReMeMBeR something about high school. one project to which I always looked forward was the Demonstration Speech in english class. My favorites of the topics I chose were how to paint denim jackets (in my day, we all had our favorite band on the back) and how to read a racing form (thanks to my dad, who is still an avid pony player). The coolest part of this project was to see what everyone else came up with—especially the less sociable people in high school. The best demonstration speech was oﬀered by a guy who was always quiet. In fact, many of us wondered if he might be a psycho. He sported a denim jacket that was well worn and army boots, and spent more time outside than he did in class. When he got up to make his presentation, we all thought it would be a series of mumbles and asleep we all soon would be. But, from his very ﬁrst words—“Would you like to know how to buy a car?”—he had my undivided attention. He went on to tell the class every trick in the book on how to buy a used car. He shared how a worn down or completely worn oﬀ brake pedal was a dead giveaway for bad brakes and how no one ever takes the air ﬁlter oﬀ to look inside the carburetor, as well as a list of other useful tips. His presentation has stuck with me until this day. Most people enjoy talking, especially things about which they are knowledgeable or that they absolutely love. However, I think the passion for speaking to other people, no matter whether it’s in person or on the telephone, has been lost in the electronic age. even before 1870, when the phone was invented, people enjoyed face-to-face communication. In fact, it was a necessity. Personal communication back then occurred between people, not computers. The shyest person had to ﬁnd the courage, the angriest had to ﬁnd the calmness, and all of them needed to be able to make a point to another person by communicating face to face. If you wanted something, you had to learn how to communicate your needs eﬀectively through direct interaction.
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Walls of Text to Hide Behind In recent years, though, we seem to have even le the telephone behind. yes, increasing numbers of us own cell phones of all kinds, especially smartphones, but how many people really use these devices to actually talk to each other? Is the phone, including the telephone component of a smartphone, dead? In fact, we have created a world of walls to hide behind. We have veered away from speaking directly with each other, whether in person or by phone, towards sharing texts and emails. our skill in verbalizing thoughts has accordingly atrophied. A facial expression, body movement or verbal sound is no longer a discernable aspect of much communication, which oen leaves us guessing how someone feels. For example, as of Q2 2008, an average US mobile phone subscriber now sends and receives more text messages than voice calls, with a typical US teen sending and receiving more than 1,700 text messages every month, according to research conducted by Nielsen Mobile. It is probably no surprise that “a typical US teen currently sends or receives the most text messages—around 1,742 per month—while making or receiving just 231 voice calls. Adults aged 18-24 had the second-largest gap in the textto-call ratio: 790 to 265” (Leggatt). Need for Real Interaction However, business people need to interact with people, not texts and emails. It is the way in which trust, loyalty, or even dislike, are truly established. Today’s new professionals must understand that you cannot tweet or email your interview to a prospective employer. you must actually speak to them in person. The practices of negotiating, bargaining or debating must have emotion and conviction behind them. you cannot do that with an email or text. The body language or vocal intonation of one person helps the other to understand the emotion of the person speaking. you can see or hear happiness, fear or discontent physically manifested. Many people today may believe they can hide behind written communications and fend oﬀ any personal attacks they might encounter if they were speaking to someone in person or on the phone. And while it might be possible to develop a sense of intimacy more quickly electronically, it can be disconcerting to discover that sense of intimacy may not really be there once a chance to meet in person ﬁnally occurs. Depending on your age, you might not realize there actually was a day when cell phones did not exist. you had to be patient as you waited for friends to call you on a rotary dial landline to see what the weekend had in store. I remember many times when I could not get through to the person I was calling, hearing the annoying busy signal, and trying to redial as fast as I could, only to be held up by the slow pace of the rotating dial, which had to return to its original position before I could input the next number. This is where my patience usually ran thin and I jumped on my bike or got in my car and went to my friend’s house. It was actually easier in some cases to go to someone’s house than reach them on the phone. I continue to encounter younger people today who are ﬂabbergasted by how we lived before the invention and proliferation of cell phones. “Hooﬁng,” meaning “to walk,” was the key to getting a job, whether it be a summer or full-time career position. you hit the streets with résumé in hand. If you didn’t show up with your best game, you were deﬁnitely not getting past the receptionist. only those who excelled in personal interaction could get through to the person actually doing the hiring. Consequences of Certain Electronic Communication you cannot expect to communicate in a workplace setting using LoL or TTyL and have an employer respect you. In fact, in certain circumstances, it could probably lead to termination. Also, many people have gotten into and continue to get in trouble by texting or emailing when they are angry. Without an understanding of mood that comes from face-to-face or telephone communication, many of us have caused ourselves considerable grief by sending reactive texts or emails. When confronted with a problem or sharing an argument in person
or on the phone, we have the ability to read body language and/or facial expressions and hear emotional intonation in the other speaker’s voice. But, in electronic communication, it is all too easy to have an immediate “kneejerk” reaction to a comment that does more harm than good. Increasing anxiety seems to be a byproduct of texting, too. Have you ever emailed someone or texted them and they didn’t reply for hours? How did you feel? In my earlier days, most people didn’t even have answering machines for you to leave a message. you needed to call back at another time. But, in the age of instantaneous communication, feelings of loneliness or abandonment when a message is not immediately returned seem to be common and can heighten individual insecurities. In the past, we usually didn’t experience such anxiety because we understood we had to wait for the person we were trying to contact to return home before we could reach them. I believe many young people today feel very insecure about speaking to others face to face or on the phone. Can it be that this is a direct result of texting or emailing? While the experts may continue to analyze or debate this, it’s still a fact that if you do not practice speaking directly to others, you won’t develop the conﬁdence you need to communicate well in person. As is the case with practically any activity, practice will create better results. At a recent educational session I presented for NACA, I asked, “Why do you choose not to speak face to face or on the phone when conducting business?” Most of those in attendance replied, “I am scared of the outcome” or “I don’t want to be pressured into anything.” The etiquette and practice of speaking face-to-face or on the phone may well have been lost, I’m afraid. How will we teach the generations to come to embrace them? You’ll Be Amazed at the Diﬀerence As a father, my instinct is to teach my children how to interact appropriately wherever they may go. even if they are only buying candy at the local deli, I insist they be polite and say “hello” and “thank you.” Without such “old-school” practices, I believe it will be diﬃcult for them to be successful in life. As students, you cannot answer your professors’ questions with texts. you must raise your hand. Nevertheless, we have all heard the stories of someone being ﬁred through an email or learning their signiﬁcant other has just broken up with them via text. I believe it is a shame this actually happens in our world today. The next time you ﬁnd yourself thumb-typing away, stop! Instead of a 100-word essay, type in a 10-digit number, dial it and actually talk to the person with whom you want to communicate. you will be amazed how much more you will smile.
References Leggatt, H. Nielsen Mobile: Texting vs. talking. Retrieved May 25, 2011 from http://www.bizreport.com/2008/09/nielsen_mobile_texting_vs_talking.html.
About the Author Drew Pompilio is president of Dbuyer, Inc. (PA), which produces highend private, corporate, casino, college and special events. He previously served as director of Special events for Live Nation and as a talent buyer for electric Factory Concerts. He is a graduate of the Fashion Institute of Technology (Ny). He is a past member of the NACA® Associate Member Advisory Council.
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ENTERTAINMENT CONTRACTS Understanding Them Is the Key to Good Programming By
Greg Diekroeger University of Wisconsin-Stevens Point
24 Campus Activities ProgrammingTM Back to School 2011
Back to School 2011 Campus Activities ProgrammingTM 25
taﬀ and students responsible for programming at campuses across the nation are taking on added responsibilities at an increasingly rapid pace. Advisers to programming boards used to focus on the development of quality programming and student leaders. Today, these same advisers are required to wear a wider variety of hats: from adviser and budget controller to technician and facilities manager. As a result, some of the more “traditional” programming responsibilities are being passed on to program assistants and student program coordinators. one of the responsibilities that appears to not be receiving enough attention is contract negotiation and contracting. Simply mentioning the word “contract” strikes fear and apprehension in some programmers not familiar with the process. When the rock band Van Halen was touring the country at the peak of its popularity, their contract rider became famous in the entertainment industry. Among the many pages it contained was a clause requiring a two-pound bowl of M&Ms with all of the brown ones removed. While this request may seem demanding or even trivial, the contract clause did serve a purpose. Being a programmer, you know that your task list for some events can become quite long. When producing a major event like a Van Halen concert, attention to detail is crucial. The band’s road manager devised the brown M&M ban as a way to determine a venue’s preparation for the concert. If the meaningless detail had been accomplished, the manager knew that other, more important details would be handled competently. So, how do we protect our institutions (and ourselves) when negotiating contracts of any size? As the coach of any athletic team would say, “Let’s start with the basics.” For our purposes, the deﬁnition of a contract shall mean, “a legally binding document that represents a mutual meeting of the minds in an agreement.” However, keep in mind that verbal agreements can be equally binding. ensuring the exactness of a performance on your campus may not be possible, but being precise about what is expected can be possible. There are three elements to a contract that require attention to detail and exactness.
not—be sure to check with your legal or purchasing department. Most schools have a contract that is used for performers and outlines all the provisions required by the school. Most schools will allow a performer to send their own contract to be executed. In either case, the school and/or the performer may attach a rider to the contract to ensure that their respective provisions are covered. Now that we have reviewed what the actual contract is likely to include, let’s cover the steps involved with negotiating a contract. Because we are dealing with many variables when negotiating a contract, the biggest of which is human interaction, it will be helpful to understand what is expected of you if you are actually negotiating a contract on behalf of your institution. OFFER and ACCEPTANCE It is extremely important to know your school’s guidelines for contract negotiation, the oﬀer and acceptance of a contract and who is responsible for signing the contract. Many schools do not allow students to make an oﬀer for a potential performance, while some schools allow students to sign contracts. KNoW WHAT yoUR SCHooL’S PoLICy IS RegARDINg CoNTRACT NegoTIATIoN. Because contracts could have major implications for your school, there are no excuses and ignorance is not an acceptable self-defense. The oﬀer you make to a potential performer must be explicit! Some performers require that the oﬀer be in written form, while other performers will accept a verbal oﬀer. Both types of oﬀers are legally binding, so be thorough and accurate. It is from this oﬀer that the entire agreement and understanding will be built. Be sure to cover the three elements outlined above regarding the details of the performance. Be prepared for a “counteroﬀer,” where the performer or agent may want to make a modiﬁcation to your oﬀer (i.e. that your school provides lodging). All elements must be mutually agreeable before the actual contract is executed.
SIMPLY MENTIONING THE WORD “CONTRACT” STRIKES FEAR AND APPREHENSION IN SOME PROGRAMMERS NOT FAMILIAR WITH THE PROCESS.
1. Services Provided WHO will perform (name of artist and number of performers) WHEN the performance will take place (date and time) HOW LONG the performance will take place WHERE the performance will take place 2. Consideration HOW MUCH the performer will be paid WHEN the performer will be paid other BENEFITS (lodging, meals, travel, etc.) 3. Signatures All contracts, whether one page or 59 pages long, start with these basic elements. oen, there is an additional document attached to the contract, called a contract rider. The “rider” is an attachment that speciﬁcally states the additional terms of the agreement. When signed by both parties, the provisions of the contract and rider are legally binding. Be aware that both your school and the performer you are contracting with may have a rider to attach to a contract. your school may have speciﬁc guidelines regarding what is acceptable for a contract and what is 26 Campus Activities ProgrammingTM Back to School 2011
CAPABLE PARTIES Unfortunately, this phrase doesn’t mean your ability to party on the weekend. It means that you are capable of committing your institution to a contractual agreement. In the case of an agency representing a performer, they must also be capable of committing the performer to a performance. CONSIDERATION This part of negotiation is also the third element of the contract, so careful attention needs to be paid in this area. What the performer receives in return for their actual performance is their consideration. In other words, if your school provides lodging, meals and pays for the artist’s transportation, in addition to a performance fee, all of these items would be what the performer was paid in total. Use caution when negotiating these types of considerations—never agree to pay for a performer’s expenses without some type of maximum. For example, the performer could end up charging you for dry cleaning the costume they wear during their performance at your school. Larger acts may also want a “percentage” of the revenue you generate from ticket sales to the event. This can be in addition to their ﬂat fee or in lieu of their performance fee if it is a greater amount.
WRITTEN DOCUMENT The ﬁnal product of your negotiations should be the written contract. A contract is fully executed when both parties have agreed to ALL its terms and provisions. It may take time (and patience) to go through an entire contract to make sure there is complete understanding between the two parties. But this eﬀort pays oﬀ in the long run to ensure that there are no problems on the night of the performance. The contract serves as your tool in producing a successful program. everything that you (or your school’s representative) agreed to provide is listed in the contract. Don’t be fooled into thinking that the contract is a one-way street. The contract also serves as a tool for the performer. The performer may play hundreds of dates within a year and cannot possibly be expected to remember the conversation they had with you almost eight months ago. or, if the performer has an agent, they obviously do not know what you negotiated with the agent. The ﬁnal contract provides vital information for the production of the event. Speciﬁc and precise terms in your written document will serve you well. of course, the contract is ineﬀective when it is sitting on your desk, even aer all of the negotiations have been made and the proper signatures have been procured. Physical delivery of the contract is the ﬁnal phase of acceptance of its terms. you must plan accordingly, especially if your school requires a certain amount of time to process a contract and make sure that everyone who is required to have a copy of the contract has one. you certainly don’t want to have customers show up for a performance by an artist who didn’t know about the event because you let the contract sit on your desk!
A FEW FINAL WORDS While contracts serve as the legally binding document between your institution and the performer, they also serve as an excellent resource for producing successful programs. Horror stories run rampant about contract conﬂicts and some of the more extreme clauses, like Van Halen’s M&M stipulation. Almost always, without exception, these clauses and contracts are written a particular way to make your job easier as a programmer. As you attempt to juggle your many responsibilities throughout the year, keep in mind that the contract and performance by an artist on your campus is the direct result of your input. All contracts are dependent on good faith, cooperation and communication among all people involved. But it is your responsibility as a campus activities programmer to cover all the bases and make sure no detail is overlooked. There is no need to be fearful of contracts, contract riders or their negotiation. A basic understanding of the concepts behind contracting will provide success to you as a programmer. By the way, rock artist Bryan Adams was touring shortly aer the infamous Van Halen tour. We’re told that his contract rider requested a two-pound bowl of brown M&Ms.
References Davis, J. and Lorman, T. (1996). event planning. The Bulletin, July, 6-9. Diekroeger, g. Contract Negotiation: Minimizing the Risks. educational session presented at various regional NACA conferences, 1992–2011 Matthews, T. (1987). Negotiating contracts. Campus Activities Programming™, 20(5), 39–44. Stevens, D. and Diekroeger, g. Concert Management. Seminar presented at NACA National Convention, 2004 and 2005
About the Author Greg Diekroeger is assistant director of Campus Activities at the University of Wisconsin-Stevens Point. He also is involved
with eventures—event Production Services, an event planning company. Active in NACA since 1985, he served as Chair of the Board of the NACA® Board of Directors in 2006-07, as well as the National Showcase Coordinator from 1991-2002. In addition to a number of other positions, he has facilitated or coordinated the Contemporary Concert Management and Promotions Workshop a number of times. Also active in NACA® Northern Plains, he most recently served as a graduate Intern Mentor. A frequent contributor to Campus Activities Programming™ since 1990, he has written about topics ranging from contracts and riders to trends in contemporary entertainment and risk management and liability. He holds bachelor’s and master’s degrees in communication, both from the University of Wisconsin-Stevens Point.
Check out the NACA Digital Library NACA is committed to enhancing relevant resources for our members, and our Digital Library is an overflow of that commitment. Whether you’re looking for articles from Campus Activities Programming™ Magazine, need to find a website about risk management, or simply want to locate some education and entertainment resources, the NACA Digital Library is your place to find it. Search hundreds of articles, websites and documents TODAY!
www.naca.org/MediaCenter/DigitalLibrary Back to School 2011 Campus Activities ProgrammingTM 27
SAVE MONEY BUILD RELATIONSHIPS DEVELOP SKILLS Just as in 1960, when a group of school representatives formalized a simple and practical idea to increase the buying power of their campus programming dollars, BLOCK BOOKING continues to be a cornerstone of NACA. Whether you approach the process from a money-saving standpoint or a student development perspective, the advantages to school members, associate members and artists/performers are many.
Benefits: • Saving money • Bring in more diverse talent by partnering with surrounding schools • Develop long-lasting partnerships with agencies and artists • Support green environmental efforts by eliminating excessive travel • Educate students in the art of negotiation, organizational skills and contracting • Create avenues for students to pursue future careers
Does Block Booking really work? Yes! A student affairs professional who uses Block Booking had this to say: In addition to leadership training, attendance at the conferences saves SAC a great deal of money in contract fee discounts, which are offered to schools who commit to acts at the conference. Last year, SAC saved approximately $9,050 in contract fees by attending the regional and National conferences. By setting many of their Fall ‘10 programs at the National Convention in February, SAC was able to save approximately $3,100 in contract fees for the coming semester that would not have been discounted had delegates not been present at the Convention.
—Angie Dunlap, University of Memphis (TN)
For more information on Block Booking, visit www.naca.org/ BlockBooking/Pages/ BBIN20.aspx. 28 Campus Activities ProgrammingTM Back to School 2011
THE CONTRACT IS SIGNED... NOW WHAT DO I DO? Hosting an event on campus can be a daunting task! Are you prepared for the arrival of your entertainer(s)? By
Beth Ann Shick and
Emily Taft, Gannon University (PA)
Back to School 2011 Campus Activities ProgrammingTM 29
Preparing for a Campus Event: getting organized for a campus event starts with the initial contact made with the agent or entertainer. These preliminary conversations can help you decide if this entertainer is right for your campus and if you are able to meet the contract and rider requirements. At gannon University (PA), an event authorization form must be ﬁlled out for every program sponsored by a club or organization on campus. This form guides the student programmer in what questions to ask the performer. When making contact with a potential artist, consider: 1. The type of entertainment (musician, comedian, hypnotist, etc). Does
One Week Before the Program Replenish posters. Advertise/promote on Facebook and Twitter. Select areas on campus to promote the event. Meet with the programming board president or adviser to go over details of the show. Two days Before the Program Set out table tents (if desired). Initiate last-minute publicity stunts. Day of the Show Set up teasers in high-traﬃc areas and a sign to welcome guests to the program. After the Show Send thank-you notes to all who assisted. Assess your event.
this type of entertainment ﬁt with the mission of your university? 2. Available dates that work for both parties, including block pricing when
the entertainer is already in the area and can oﬀer a discounted price. 3. Whether the price is all-inclusive. Do you need to provide hotel and/or meals? 4. The rider requirements. Do you need to provide a microphone or stool, meet sound equipment, stage, lighting and dressing room requirements, purchase water, etc? 5. Setting budget parameters for travel, meals, sound and lights. 6. Whether you need to pick up the entertainer from the airport. When the event authorization form is turned into the Student organizations and Leadership Development oﬃce at gannon University, the space is reserved and the contract is requested.
Double-Checking, Triple-Checking … and Checking Again: Three days before the event, call the agent/entertainer and review the contract and rider. Conﬁrm the date, time and location of event. What time is the entertainer arriving on campus? Ask them to arrive one hour before the show so a sound and lighting check can be conducted. Who is going to meet the entertainer? Do you need to pick up the entertainer from the airport? Conﬁrm the airline and arrival time. give the entertainer your contact information (cell phone, not the oﬃce phone). Ask the entertainer for their cell phone number. Most of them will share this information for day-of-show purposes, only. Ask the agent or entertainer for a brief bio to be used in introducing the artist. Ask the entertainer if they would be willing to do a teaser before the show (most will agree to do this if their travel plans permit). Review what the school is responsible for providing: meals, hotel, sound equipment, water, etc. Double-check your room reservation and set-up requirements with your campus representative. It is a good rule of thumb to have the venue ready one hour before the arrival of the entertainer. Conﬁrm the hotel reservation (if applicable). Make dinner reservations (if applicable). Purchase supplies requested in the contract or rider (water, index cards, pens/pencils, etc.). Make any necessary copies requested by the entertainer.
Having an eﬀective publicity plan is crucial in making sure you have an audience for your event.
Understanding the Contract: It is very important to review the contract and make sure the price, date, time and location of the event are accurate. If there are things on the contract you can’t supply, it is okay to cross them out—just date and initial the document near the items you have eliminated. For example, gannon University does not allow students to supply alcohol for entertainers. These items are always crossed oﬀ the contracts and riders. gannon also cannot supply dressing rooms, so these items are crossed oﬀ, too. If the contract or rider requires you to book a hotel room, make the reservation and send this information back to the entertainer/artist with the signed contract. The contract should be returned to the artist/agent within one week. each contract should contain an indemniﬁcation clause. This means each party agrees that it shall not be responsible for any claims, costs or losses that arise out of or are caused by the actions of that party. No party shall be liable for any loss, cost, damage, claim or other charge that arises out of or is caused by the actions of any other party. each party remains responsible for the losses it causes. Promoting the Event: Having an eﬀective publicity plan is crucial in making sure you have an audience for your event. The following time line will help ensure you have a huge crowd.
One Month Before the Program Call the agent and request promotional material. Publicize by word of mouth. order giveaways (if so desired). Assign tasks to committee members. Three Weeks Before the Program Start working on how to more formally publicize your event. Prepare materials for distribution. Two Weeks Before the Program Check rider requirements and make arrangements for set-up. order food. Contact other organizations that may be interested in attending. Distribute ﬁrst set of posters/ﬂyers. 30 Campus Activities ProgrammingTM Back to School 2011
Taking Care of Hospitality: It is important to remember that entertainers oen spend more time on the road than they do at home. It is crucial to make their stay on your campus as “homey” as possible. The simplest form of hospitality (and oen most forgotten) is to provide bottled water for your guest before, during and aer the show. If your entertainer is not familiar with your campus, make arrangements to meet them on campus (preferably somewhere close to the venue). Although you know your campus, the artist may have never been there before. greeting an entertainer when they ﬁrst arrive sets the tone for a positive experience and performance. If the entertainer asks for volunteers to help with load-in and load-out, make sure you provide the necessary help. Most entertainers (if asked) are happy to have a meal with members of the programming board. Before making dinner reservations, ask the entertainer if they have any dietary restrictions. These conversations before the show provide the opportunity for you to get to know the entertainer on a more personal level, as well as provide the performer with insights about your campus. If the entertainer is arriving before the check-in time at the hotel, call the hotel and request an early check-in. What Makes an Event Successful? A successful event is not measured by attendance, although high attendance is wonderful! A successful event should be measured by ensuring you have done all the steps listed above to work towards having the best, most positive
experience with your entertainer and students on campus.
The Performer’s Perspective
What Hinders the Success of an Event? An event can easily become a nightmare for the programmer and the artists when the following happens: • The venue is not set up correctly; • Sound equipment is not working; • There is a lack of communication among
By Joshua S. Walker, Fresh Variety (NH)
• There is not enough help; • You don’t meet rider or contract requirements; • There is a lack of publicity; or • There is no one present to greet the entertainer and take them to the performance venue.
Assessment/Evaluation of the Program: Aer every program/event hosted on campus, an assessment of the program should be done. The assessment can be very helpful for future events to decide if the program is worth bringing back to campus. The assessment should include the following: event title, event date, event time, event location and event attendance. The following questions can also be asked: • What lessons were learned in sponsoring this event that other event planners should know? • Would any training or additional advising have helped you carry out this event? If yes, please describe. • What methods of promotion were used? Were these promotional eﬀorts successful? About the Authors Beth Ann Shick is director of Student organizations and Leadership Development at Gannon University (PA), where she previously served as both associate director and assistant director of Student organizations and Leadership Development. Active in NACA, she has served as educational Session Coordinator and as educational and Professional Development Coordinator for NACA® Mid Atlantic. For the American College Personnel Association, she has served on the Commission for Student Involvement Directorate and is presently an erie Ambassador. She holds an associate’s degree in paralegal studies and a bachelor’s degree in political science from gannon University and a master’s degree in student personnel from Slippery Rock University (PA). She also earned a Webmaster certiﬁcate from gannon University. Emily Taft is currently serving her
second term as president of the Activities Programming Board at Gannon University (PA), where she is pursuing a bachelor’s degree in legal studies. She previously served as the APB’s Special events Co-Chair. She is also Vice President of Service with the gamma Sigma Sigma Service Sorority, a University Ambassador and is a Dean’s List student. Active in NACA, she is the graphic Arts Competition Coordinator for NACA® Mid Atlantic. Additionally, she has presented educational sessions on the regional level and has been a National Convention delegate.
S A PERFORMER IN ThE COLLEGE MARKET, I’ve seen a lot of good, a lot of bad and some downright ugly things in connection with programs produced at various schools and universities. I should start by mentioning that one of my favorite places to perform is at Gannon University (PA). I don’t say this for any reason other than they are on their game. Now after reading what Beth and Emily have shared, you, too, can be on top of your game, as well. It’s not necessarily hard to do; it just takes some eﬀort. One of the most important things I can say as a performer is that we want the show to be a total success. We truly do! There’s nothing that we (or our agents) like better than to have a great performance, but there is only so much we can do to make that happen. A lot of the burden falls on you, the programmer, but we are willing to help as much as we can. Don’t be afraid to reach out to us and ask about ways we can help and/or make things easier for you. One way in which I personally love to help is with the promotion of a show. As a former radio/TV broadcasting major, I remember what it was like being a student and getting to do an interview with the “star on campus!” It was not only fun for the student getting to do the interview, but it was also great FREE publicity for the event. There have been many times I have completely re-worked my schedule to ﬁt in a TV or radio interview on a campus. If my schedule permits, I will even go to some considerable lengths to make things happen. Once, when I was performing at a school, I arrived on campus a day early so I could do a radio interview on their campus radio station’s morning show. It was free advertising for the event. It’s also cool to see a campus doing more than just putting up posters and using table tents to promote my event. Maybe they stage a publicity stunt or gave away tickets to the event in a way to drum up some excitement. Traditional ways of marketing an event are helpful and useful, but trying something new and diﬀerent shows true commitment to the event. But, one of the other ways you can help make the show a success is by being totally honest and upfront about everything in our contract riders. Artists, for the most part, put things in our riders that make the performance “ideal.” In many cases, the artist can get by with less, but you need to be honest and let the performer know if you cannot provide something or if your venue is not able to meet the technical requirements for the performance. If we know in advance, we can usually work something out, but if we don’t know and show up expecting something to be there and it isn’t, it makes our job a lot more diﬃcult and, therefore, you may get a performance that’s less than superior, and nobody wants that. So just be honest, talk with your performer/agent and ask a lot of questions. As the old saying goes, no question is a dumb question—and as corny as that sounds, it is really true when it comes to putting on a great event. Oh, and don’t forget to call the agent/performer after the event with feedback and reactions to how everything went. It further builds the relationship you have with the performer and it helps them grow in positive ways, too. Also, don’t be afraid to ask for cell phone numbers so that you can reach the performer and not the people who manage them. I, for example, am happy to give students my cell phone number and actually carry two cell phones for the purpose of separating the calls from work and pleasure. So, don’t ever think you’re bothering me when it comes to questions regarding my performance. It’s interesting, but when I reﬂect on previous performances, I remember feeling better about going to a school where I had developed a relationship with a student or group of students by phone before arriving on campus than those at a school where hardly anyone ever called to talk about things. I was actually more pumped up for the performance when I knew people were working really hard to make the event a success. Lastly, when it comes to what you can do to make the event a success, don’t ever forget hospitality. Life on the road, speaking from experience, is not as glamorous as you might think. It includes a lot of driving or ﬂying, a lot of crappy food, a new bed every night and weird hours. There is nothing nicer than arriving on a campus and having a real meal or better yet, being taken out to dinner with the programming board well before show time. It’s a chance to not only eat real food, but also to have some quality time with the people who made the show possible in the ﬁrst place. I’m always appreciative when a programming board takes me out to eat, or provides good healthy food options for my team and me in lieu of pizza or cafeteria food. It tells any performer you are truly interested in making this a positive experience for everyone involved and it makes me want to put on a better show. Let’s be honest. There’s an average show that passes as good and there’s an all-eﬀort-in show that comes oﬀ as great. Great hospitality gets you the second kind of show and makes me want to go back to that campus much more often. So, there are some simple but eﬀective strategies you may ﬁnd helpful when planning your next event with a performer. It is important to recognize all parties/aspects of an event: the agent, the artist, the venue, the purchaser, meeting rider and contract requirements and providing hospitality. having a holistic view of your program puts you on track for a successful experience and event. Remember that a little bit of eﬀort can go a long way.
About the Author Joshua S. Walker is a professional entertainer represented by Fresh Variety (NH). Executive producer with Limelite Productions, LLC, he is also the host of Reality Check Game Show and has also hosted America’s Next Great Star. Active in NACA, he has presented the educational session “More than a Megaphone” at NACA Regional Conferences. he is the author of the soon-to-bepublished book Call Me Crazy. he majored in radio and TV at Marietta College (Oh), where he graduated in 2008.
Back to School 2011 Campus Activities ProgrammingTM 31
Creating an Event Safety and Security Blanket: Hire the Professionals
32 Campus Activities ProgrammingTM Back to School 2011
By Allen H. Ostroy Green Mtn. Concert Services, Inc. (VT)
A Little Background … There is noThing like The feeling that comes from having an event with thousands of smiling, dancing, sometimes laughing, people and knowing that you made it happen! There is nothing like knowing you provided a space for people to shed the trials and tribulations of their daily lives for a few hours and enjoy themselves. it's an amazing feeling and a “bug” i caught while in college and later turned into a career. i've had the pleasure of producing and promoting events on (and oﬀ) college and university campuses for 20 years (including the years i was in college) and spent 15 years managing and booking bands. As a band manager, my strategy was to develop my acts by booking them at colleges and universities across the country. Aer well over 300 shows at colleges and universities, i've experienced just about every fortunate and unfortunate situation. At one university, a stage collapsed due to overly zealous students leaning against it in anticipation of the show starting, so campus security shut the show down before it started. i've had a tour manager get a broken leg aer being shoved oﬀ the stage by a fan who jumped up during the show, thinking he was cool, and wouldn't get oﬀ. i've had medical transports for everything from dehydration to overdose. once, i even had to go to the eMT station myself when i stupidly jumped oﬀ a moving golf cart during one outdoor spring ﬂing event (i was the only person they saw during that event). even though i could ﬁll this entire article with stories like these, i can thankfully say that no one at my events was critically injured. (Well, at one festival/camping event i produced, someone did fall asleep in their car and then accidentally rolled over a person sound asleep in their tent—but they lived!) When i was in college, i wasn't concerned with safety or security. i just wanted to throw the best party. i thought of security as police who would bust my friends and be a drag on the vibe of the event. so, i didn't hire any if i could get away with it and, in those days, i could. We would book a band and roll kegs onto the quad and everyone would come. no worries, no problems, and the school supported it! Aer college and early on in my career, i was still young and not worried about things like silly lawsuits. i was more concerned with making sure no one snuck into my events for free because now i had money in the game. so, i'd gather a bunch of friends and volunteers and keep them at the perimeters and doors making sure everyone who got in paid. however, that strategy had some holes. one outdoor event i
staged at a university was solar powered and drew more than 2,500 people! i was ecstatic and, by the time the third band played, i was counting my money in my head: ChA-Ching! however, when it came time to count the ticket stubs and money, the “box oﬃce staﬀ,” who were members of the school's event committee, tried to convince me only 1,200 people actually attended. They knew more people were there, but could only shrug when the proceeds represented an attendance of just over 1,200. Aer an investigation, it was concluded that the event “security,” which consisted of a group of volunteer students, let in all their friends for free! lesson learned about perimeter security (and what happens when you don't have enough port-a-lets). Then something happened. i don't know what, for sure, but the world changed. some lady sued McDonald’s for burning herself on coﬀee and Won and we were oﬀ to the legal races! it seemed that anyone could sue anyone for any reason—and were doing it! in addition to the new “sue everyone” philosophy that took hold, the old cliché of “it takes only one bad apple” played out, as well, with respect to a number of campus events, and school administrators had no choice but to implement stricter policies for events on campus. Also, i got older and found i had more to lose. i became increasingly concerned with the “what ifs” and the thought of a lawsuit wasn't so silly. in fact, i became terriﬁed of “silly little lawsuits.” even though i still had the “bug” and continued staging events, i no longer enjoyed providing a space for people to shake oﬀ the trials and tribulations of their daily lives for a few hours and enjoy themselves. At the beginning of every event, i began praying that nothing bad would happen, that no knuckleheads would come do something awful, that the tired crew had assembled the stage, lights and sound rigs correctly, that no 18-year-old would use my event to experiment with drugs and oD, that the cops wouldn't bust anyone and blame me, or that, basically, people would pay their money, just stand there listening and then leave. As bizarre as it sounds, i began hoping people would noT enjoy themselves and that feeling would last until the event was over and i could breathe a sigh of relief! sure, i had insurance but, so what? if i were using that insurance, then that meant something had gone terribly wrong. i didn't have anyone at the event assuring me that all was good and safe and having my back if an issue did arise. Then, i was introduced to someone who owned a company that allowed me to enjoy my job again! But, more on that later. Back to School 2011 Campus Activities ProgrammingTM 33
Commitment to Safety and Security When the world changed, the rules changed. in today’s “sue ﬁrst, sue everyone” climate, school administrators are feeling the same things i once felt and are petriﬁed of the “what if's” and may well be more concerned with limiting liability than they are providing a fun event for their students. The consensus is likely to be that the fewer of these types of events held, the less chance of something happening that could leave the school open to a lawsuit. getting approval for an event is a tougher process than it used to be. once, all it took for an organization to get an event approved was to have the funds to pull it oﬀ. now, the best way to get an event approved is to start out with a solid security plan that demonstrates to the school and the school’s public safety oﬃcials that you are committed to creating the safest event possible. There are two ways event committees have traditionally used to try to resolve the need for stricter security and increased safety: 1. Increased use of campus security/campus police departments. 2. Increased use of volunteers from committees and student body.
however, there is another option to help you get approval and achieve your event safety goals while staying within budget and keeping the event vibe alive. This is the resource that allowed me to once again enjoy producing and managing events, and now i couldn't imagine trying to do an event without them on my team. But before we get to that third option, let’s review the ﬁrst two on-campus safety resources.
“no-brainer.” however, you get what you pay for and using students to monitor other students can put everyone in an unsafe position. By using student volunteers, you may well be increasing the risk to the same people you’re trying to protect. With that said, the reality is that student volunteers must be included and made a layer of the safety and security “blanket” for the event. however, the planning, deployment, establishment of procedures, and execution of a security plan should be done by trained and licensed event security professionals. The Third Option: Event Security Professionals There are private security companies that specialize in event security and crowd management. The people who run these companies are in the business of safety and security. They are not police and do not have to follow police procedures and they do not have police authority. They are safety professionals who can work with you and your event committee to create a safe event while maintaining an appropriate vibe. They are experts in creating safe environments for events of all sizes, because that is all that they do. Private security companies are typically less expensive than local law enforcement and are, therefore, more cost-eﬀective than increasing local law enforcement deployment for your event. My suggestion is to use a combination
WHEN THE WORLD CHANGED, THE RULES CHANGED. IN TODAY’S “SUE FIRST, SUE EVERYONE” CLIMATE, SCHOOL ADMINISTRATORS ARE FEELING THE SAME THINGS I ONCE FELT AND ARE PETRIFIED OF THE “WHAT IF’S” AND MAY WELL BE MORE CONCERNED WITH LIMITING LIABILITY THAN THEY ARE PROVIDING A FUN EVENT FOR THEIR STUDENTS.
1. On-Campus Security/ Campus Police At many colleges and universities, on-campus security resources are limited to campus security/campus police. They are a great resource because their job is student safety. however, these departments have personnel limitations and can be pricey. in addition, increasing the amount of campus security/campus police at an event can create a vibe that contrasts with the one the event committee is trying to create. And creating the right vibe is an important mission of every successful event committee. increased use of campus security/campus police also does not necessarily increase the safety of the event because campus security/campus police have their own set of rules they must follow. for example, they must detain people in certain cases and then transport them. if they transport violators, then they have to leave their post at the event. if they leave their post at the event, what happens then? Please don’t misunderstand me. it is essential that campus security/campus police have a presence at the event, especially if it is open to the public. They are a necessary and helpful layer of the safety and security “blanket” for any event. however, according to my experience, their role should be limited to last-resort security, medical issues, transports, etc. Their presence should be “felt,” but not be so visible as to aﬀect the event vibe. 2. Student Volunteers student volunteers are the second resource to increase safety and security at an event. They are also a great one from a ﬁnancial standpoint because they are free. As budgets have tightened, relying on free labor is a 34 Campus Activities ProgrammingTM Back to School 2011
of all three types of resources at your disposal, and that a private security company
can be an additional layer in the safety and security “blanket” for your events. Evaluating a Private Security Company should you choose to add the layer of security to your events that a private security company can provide, there are many things to consider when evaluating which private security company to hire: 1. Find out what past events they have been involved with and their level of involvement. some private security ﬁrms say
they do events, but mostly provide uniformed security for buildings. event security requires security oﬃcers to think on their feet and deal with speciﬁc types of challenges. They are also typically better trained in crowd management techniques and have an understanding of how an event runs and the challenges facing you. Companies that have been involved in events will make a better partner for you. 2. Ask about their training program.
As crazy as it sounds, some states don’t require any training for the security oﬃcer to be licensed and able to work. Therefore, some companies don’t train their people, and you want trained professionals. 3. Research your state’s licensing requirements for a security company and require the security company to produce proof that they are licensed to provide security services. 4. Require the security company to provide proof of insurance.
They should carry a minimum of a $1,000,000 blanket liability policy and should name the school on the event binder. Eﬀective Use of Your Security Company The best part of using a professional security company is that they work for you! There are no conﬂicts of interest, no conﬂicting protocols, and no hidden agendas. The company you choose should become a true
partner in creating safe events for you. You should feel that the company is working with you and advising you with your best interest in mind and “getting your back.” They should be available for pre-event meetings and provide post-event analysis. A good private security company will not treat your event as a “plug n’ play” situation in which the company just shows up with some personnel at the event. A good private security company will want to act as your partner and do what they can to help you succeed by attending meetings and being involved at the beginning stages of the event process. As an event producer, i consider my security company a valuable and integral part of my team. The following is a list of pre-event services you can have your security company do to help you produce a fun and safe event.
train their staﬀ on “guest services.” i recommend ﬁnding a company that does this because it makes a hUge diﬀerence in setting the right vibe for the event. in many cases, your security, whether volunteer, police or private, will be your ﬁrst line of contact with your event attendees. Whoever is staﬃng that line should understand the attendees are your guests and should be treated as such. guest services training for the people in this role can go a long way in creating the type of vibe you want for your event. 3. Conduct pat downs and bag checks—Trained professionals know how to do this safely and eﬃciently. in contrast to police, security oﬃcers are not allowed to conﬁscate contraband. security guards can ask the person caught with unauthorized items to throw them away or pour something out and refuse entry, but they can’t conﬁscate materials or arrest anyone.
4. Provide pit presence and stage protection: protecting the band, stage and equipment from an unruly crowd. 5. Provide backstage protection: ensuring the protection of the artist can go a long way in having them return. in addition,
1. Conduct a site walk/venue walk—if the venue is outdoors, have
the company walk the site and go over the site design with you. if the show is ticketed, they will be able to oﬀer suggestions on how to best secure the site. The site walk will also help them create a crowd management plan for ingress, egress and emergency evacuation procedures. if the venue is indoors, then the venue walk will give them an idea of the exit situation and layout. They should oﬀer suggestions on how to queue people for ingress so that it is safe and eﬃcient. remember that they are in the business of safety and see things from a perspective you may not. 2. Review artist riders—Many artists’ riders include a security clause. some are stricter with respect to backstage security requirements, sound check security requirements, and front-of-stage (pit) requirements. You can send these to your security company in advance so they can then review them and oﬀer suggestions on how to meet the artists’ requirements. 3. Review, update or create emergency action procedures— What happens if a tornado strikes? What happens if power fails and the lights go out? What happens if someone gets hurt and needs medical attention? Plans for such scenarios probably already exist, but reviewing them, updating them and applying them to your speciﬁc event could save a life and they need to be reviewed with your speciﬁc event in mind. The evacuation procedure for a hockey game might be drastically diﬀerent from that for evacuating a show with a mosh pit. 4. Act as a liaison between your organization and campus public safety and police departments and the artist’s security director.
Event Service Using a private security company for the following event needs will make your event more professional and, in some cases, actually save you money. 1. Secure the perimeter—in the case of ticketed events, this is very important for the show’s revenue. A paid professional won’t “look the other way” or allow free access to anyone. in contrast, student volunteers will oen “look the other way” and allow friends access to the event for free. (if you think your volunteers at the doors aren’t hooking up their friends, then i’ve got some land to sell you.)
artist feedback to the manager and agent about their experience will go a long way in getting additional artists on the agent’s and manager’s roster to come to your campus. 6. Serve as a response team: responding to an incident and having the training to diﬀuse and handle any situation. 7. Provide ﬂoor monitoring: making sure that people aren’t doing anything they’re not allowed to do, such as smoking in a non-smoking facility. 8. Provide gate monitoring and access control: making sure everyone stays in the areas they are assigned.
Post-Event Service 1. Provide post-event analysis—have your company provide a report
on what worked, what didn’t work, and what can be improved. 2. Provide incident reports—if an incident occurred during your
event, have your security company provide a report for your ﬁles. This can protect you in case the incident goes to court. Ensuring the Safest Possible Event You have professional talent, professional sound, professional lights, and professional medical personnel staﬃng your events, so why not have professional security, as well? Adding them as a layer to the security you already have is the best way to ensure the safest possible event. i couldn't imagine trying to produce an event without a professional security company and my security director. he is one of my ﬁrst people i call when even thinking about an event and how and where to have it. i highly recommend you and your school ﬁnd “your guy” and “your company,” if you haven't already. it will allow you to enjoy watching people smile at your event knowing you made it happen instead of the alternative, which entails biting your nails and praying while counting down the minutes until the event concludes.
2. Conduct ingress/egress/crowd management: getting people in and out of the event eﬃciently—some security companies
About the Author Allen H. Ostroy is vice president of Event Services with Green Mtn. Concert Services, Inc. (VT). he previously served as owner of great Bay entertainment group, inc. he was a feature writer for www.jambands.com from 2005 through 2007 and he created the Music Biz 101 Workshop, which gives musicians, managers, agents and promoters opportunities to learn how the industry works form a “real world” perspective. in addition, he participated in the 2005 nACA® national Convention and the 2010 nACA® northeast regional Conference. he holds a bachelor’s degree in philosophy/psychology from Coe College (iA).
Back to School 2011 Campus Activities ProgrammingTM 35
AdVERTISInG OPPORTUnITIES: CALL TOdAY! Associate members, promote your acts, products and services to college students across the country! NACA can help you gain exposure to college programmers and their advisors. For more information about print and web advertising, or to reserve your ad space, contact Tracey Portillo at: firstname.lastname@example.org. Or, call her at 803-732-6222, ext. 207.
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Programm ing C A M P U S A C T I V I T I E S
MAY 2011 Vol. 44, No .1
NEW PRO Preparing for FESSIONALS: Job-Search S uccess From Backpa ck to What You Ne Briefcase: ed to Know Transferring Leadersh to the Workp ip Skills lace Survival Guid e Professionals for of Color Engaging Stud en beyond Grad ts uation
36 Campus Activities ProgrammingTM Back to School 2011
From Band-Aids to Broken Bones Preventing, Preparing for and Resolving Minor Event Issues and Major Crises
Jennifer L. Ferrell Keene State College (NH) and
Zach Beaver Seton Hill University (PA)
Back to School 2011 Campus Activities ProgrammingTM 37
verything is in order for the biggest event of the year. Your plans are set, your volunteers are ready, and your school is super-excited! The only thing weighing on your mind is tonight’s weather report: rain. Two hours before your event is scheduled to begin, the forecast for rain you were a little worried about turns into a much bigger concern. in a matter of only two hours: • lightning and thunder roll in while the line begins to form. • Your performer is delayed at the airport. • A fallen tree knocks out power to campus. • The line of students, once patiently waiting, is now soggy, restless and getting rowdy. • The now riotous crowd begins to throw empty bottles and knock over trashcans. • Your volunteers and security staﬀ are becoming unable to manage the situation. You know the saying, “When it rains, it pours?” Thankfully, this exaggerated example is less than likely; however, one or more of these problems or crises could happen at any time during any event. The important thing to keep in mind is that proper planning, communication and emergency preparedness will give you the conﬁdence and ability to address, preempt and manage issues successfully. The following topics and examples are intended to provide insight into managing crises without fear, taking action steps to eﬃciently manage scenarios, and communicating eﬀectively before, during and aer events.
include ﬁrst-aid/CPr training; familiarizing event staﬀ with medical equipment in the venue, ranging from ﬁrst-aid kits and ice machines to automatic external deﬁbrillators (AeDs), and where to locate them; your campus’ emergency reporting protocol; and how to communicate with the other event staﬀ. sometimes, for larger or higher-risk events, it may be appropriate to have medical staﬀ members, such as eMTs, on site. Make sure all event staﬀ members know where to locate them. Create signage to notify your audience of potential hazards, restrooms, traﬃc ﬂow and event resources. signage highlighting the use of strobes and other lighting eﬀects is commonly used to make those with photosensitivity or epilepsy aware of the potential hazards. reviewing your event’s lighting plan should alert you to this possibility. Clearly and accurately notifying audience members of key facility areas and potential hazards should be a top priority. signage should be bright, bold and in high-visibility, high-traﬃc areas. Managing a Medical Emergency
should a medical emergency arise, the ﬁrst steps to take include assessing the situation and gathering information, clearing the area around the aﬀected individual/s if possible, notifying security and/or medical staﬀ, and making a determination if the event needs to come to a stop or if the individual/s can be removed from the area and assisted elsewhere. if the incident draws the attention of the crowd, it is appropriate to update them on the status of the situation. staying calm and composed will help to keep the situation more manageable.
ISSUES And CRISES CAn OCCUR AT AnY TIME, BUT wITH PROPER PLAnnInG, COMMUnICATIOn And EMERGEnCY PREPAREdnESS, YOU CAn PREEMPT OR MInIMIZE nEGATIVE InFLUEnCES On YOUR EVEnT.
Venue/Facilities There are many diﬀerent problems that could occur that are speciﬁcally related to the venue in which your event is being held. These could range from missing chairs, broken sound and lighting equipment, and non-functioning ﬁre alarms and smoke detectors to extreme temperatures, trip hazards and spills and accessibility issues. Many of these issues can be prevented or resolved prior to the event with thoughtful planning and communication. for instance, communicate early and oen with the facility manager (or appropriate staﬀ member) to ensure all your setup needs have been taken into account. key items may include chairs, tables, staging, stanchions, projectors/screens and lighting and sound needs. Plan a walkthrough of the venue with the facility manager to check for things such as health and safety concerns, accessibility issues and functionality of the equipment. Additionally, compiling phone numbers prior to the event for maintenance, cleaning services and building staﬀ will be helpful if a problem were to arise during the event. Prepare your volunteers by touring the venue, explaining the event schedule, covering entry and egress procedures, and where and how to access important event staﬀ and supplies. By thinking through the aforementioned details, you can save yourself and others from the stress of running around unnecessarily on the day of your event and help you keep minor ﬂubs from turning into major issues. Medical Emergencies regardless of your level of planning, medical emergencies can and will occur at any time. A medical emergency can run the gamut from cuts and scrapes and broken bones to panic attacks, vomiting, seizures, dehydration and more. The list goes on.
weather Weather can have either positive or negative eﬀects on your event. for certain events, you may be hoping for a speciﬁc type of weather to guarantee its success. hosting a rail jam or snowman-building contest requires an appropriate amount of snow to ensure the event gets oﬀ the ground. on the ﬂip side, water-themed events need to take place when temperatures are warm. Too little snow or cold temperatures could make it diﬃcult to proceed with these types of events as planned. Another instance where weather may play a factor is in travel for performers, service providers and event attendees. heavy rain, snow or winds can cause ﬂight delays and cancellations or diﬃculty for travel by car. given these potential scenarios, it’s important to know when to cancel or postpone an event. outdoor events are most susceptible to problems arising from weather conditions. When hosting an outdoor event, it is imperative to: • schedule a backup indoor location if possible. • Plan a backup date. • Check the forecast early and oen. • Pick a predetermined time by which you will decide to postpone or cancel the event. • Determine who will notify attendees and how. A change in weather during an event can also lead to unsafe situations for attendees. Understanding what creates an unsafe situation and the limits of your event components will enable you to make the appropriate judgment call, if needed. Most inﬂatables are capable of withstanding winds up to 20 mph, only, even when properly staked. Although wet weather may be undesirable, lightning makes it unsafe. rising temperatures can also cause issues for attendees such as dehydration and heat exhaustion.
Preparing for a Medical Emergency
one of the most important things to do is train event staﬀ how to appropriately handle a medical emergency should it arise. This might 38 Campus Activities ProgrammingTM Back to School 2011
Late Performers and Cancellations Weather and other travel or personnel-related issues can arise, causing
performers and/or service providers to arrive late. Attempts can be made to minimize the probability of these situations. spend time prior to the event ensuring clear and accurate directions have been given, contact information has been exchanged and the day-of-event contact is easily accessible. Properly advance the show to ensure early arrival and appropriate sound-check time, if needed. Build in a cushion to account for small delays. Ask performers and service providers to contact you during travel and not solely upon arrival. hopefully, you’ll get a heads up about issues along the way. if you know a performer is going to be late, be prepared to ﬁll the time with promotions for upcoming events, music, videos or talented students willing to perform. in the unfortunate event that a performer cancels their appearance, don’t panic. Predetermine who will contact attendees and how. if there’s an opportunity for a ﬁll-in, communicate that information to all possible attendees or ticket holders and, if needed, determine how a refund process will work. notify other event staﬀ and contracted professionals that the event is being cancelled as soon as possible. refer to contracts and riders for stipulations regarding cancellation and payment. it may not be too late to create an alternative event or ﬁnd another performer who happens be in your area.
for the performer’s safety, do not allow attendees to access the stage. Crowd mentality may evoke abnormal behaviors or lessen inhibitions, causing individuals to act irrationally. in the same vein, attendees under the inﬂuence of a controlled substance should be appropriately handled or removed from the event. Don’t hesitate to pause or end the event if circumstances within the crowd become unsafe. Controversial Events A college campus, due to the school’s educational and social missions, should be a place to host an event that may create controversy. safety and respect of diverse viewpoints is paramount. if you have a sense that your event may spark controversy, take the following steps. • Create publicity that is upfront regarding the nature and substance of the event. • inform campus administrators well in advance of your intentions and solicit their support. • Create space for those with diﬀering opinions when appropriate. • At the beginning of the event, make an announcement outlining the program and explaining the potentially sensitive nature of the presentation. • Controversial events can stir up emotions in attendees. it may be necessary to have both enhanced security and members of the counseling staﬀ present. Allow time aer the event for reﬂection and dialogue. Taking the aforementioned steps and providing these opportunities should help minimize unnecessary conﬂicts and harm.
OVERExCITEMEnT, IMPATIEnCE, THE USE OF COnTROLLEd SUBSTAnCES And OTHER FACTORS CAn CAUSE EVEnT ATTEndEES TO BECOME AGITATEd, AGGRESSIVE OR GEnERALLY ILL BEHAVEd. PROPERLY TRAInInG EVEnT SECURITY And OTHER VOLUnTEERS CAn HELP MInIMIZE PROBLEMS SUCH AS PROPERTY dAMAGE, COnFLICT OR InJURY.
Audience Behavior overexcitement, impatience, the use of controlled substances and other factors can cause event attendees to become agitated, aggressive or generally ill behaved. Properly training event security and other volunteers can help minimize problems such as property damage, conﬂict or injury. As you plan, think through the following to deter and manage crowd issues: • Determine entry and exit strategies and communicate them to all event security and volunteers. • Diﬀuse small conﬂicts as quickly and eﬃciently as possible. • inform staﬀ when it is appropriate to intervene and when it is necessary to notify campus oﬃcials. • Contract local law enforcement or professional security when applicable. The most important thing to remember is the safety of attendees, volunteers, staﬀ and performers. Be sure to pay special attention to the stage and barricades. overzealous crowds can push forward, leading to potentially hazardous situations for audience members in the front row. Additionally,
Preparing for the worst Sets You Up for the Best issues and crises can occur at any time, but with proper planning, communication and emergency preparedness, you can preempt or minimize negative inﬂuences on your event. now, rather than a stormy, unsafe disaster, your thoughtful planning and attention to detail, and considerate handling of minor issues mixed with a healthy dose of good luck have led to a safe, smooth, successful event. everything was in order for the biggest event of the year. Your plans were set, your volunteers were ready, and your school was super-excited!
About the Authors Jennifer L. Ferrell is director of student involvement at Keene State College (nH). Active in nACA, she
Zach Beaver is a graduate assistant in Activities and Commuter life at Seton Hill University (PA). he
has served nACA® northeast as its showcase selection and on-site hospitality Chair, as well as a member of its Campus Activities Marketplace staﬀ. Also active in the American College Personnel Association, she is currently a member of the standing Committee for Women Directorate. she has written for Campus Activities Programming™ in the past. she holds a bachelor’s degree in history and a master’s degree in student aﬀairs in higher education, both from indiana University of Pennsylvania. follow her on Twitter: @inpjenny.
holds a bachelor’s degree in computer science from keene state College (nh), where he was named student employee of the Year for 2011. he is currently pursuing a master’s degree in student aﬀairs in higher education from indiana University of Pennsylvania. follow him on Twitter: @ztbeaver.
Back to School 2011 Campus Activities ProgrammingTM 39
CREATING A DYNAMIC STUDENT PROGRAMMING BOARD By
Denise R. Poindexter University of Illinois, Urbana-Champaign
42 Campus Activities ProgrammingTM Back to School 2011
While serving As A firsT-YeAr ProgrAM ADviser, i discovered that preparing for the programming board’s recruitment and selection process created an opportunity for the ﬁrst of many teachable moments. With previous experiences in recruiting and selecting student volunteers, i wanted to share a diﬀerent approach to member selection with students. i would like to share a process that may assist advisers and students alike during recruitment and selection for a new, stronger programming board. The Recruitment Process having a strong board begins with the recruitment process. recruitment is a constant, year-round process, but an excellent time to recruit is at the beginning of the academic year. oen, this process does not start until the student board begins advertising available positions and that is not ideal. At the beginning of the academic year, students are eager to get involved and most student organizations are holding their ﬁrst meetings, as well as hosting other events. This provides the board and adviser with opportunities to: 1. Attend events that facilitate outreach, 2. Present at events, 3. Distribute informative materials at appropriate sites, or 4. even provide their own information sessions at a board kick-oﬀ event. The best advice is to think outside the “norm” and be willing to try something new. The beginning-of-the-year activities provided us with the platform to inform our campus community about our programming board. The Selection Process When it comes to the selection process, it’s important to develop a list of the desired traits of student board members. The board has a deﬁned mission and goals, but what characteristics and/or personalities are important to team dynamics that will help accomplish the group’s goals? At this point, self-awareness is key. This is the perfect time for the adviser to help the student board learn their strengths and weaknesses, individually and as an entire board. knowing yourself helps you understand how you prefer to work with others and how to communicate more eﬀectively. By recognizing speciﬁc personality types and skills, as well as structure, a diverse group of individuals can become a highly eﬀective student board. individuals’ skills and strengths diﬀer greatly, but when combined, can create knowledge, innovative ideas and results-oriented dynamics. Determining desired traits can be diﬃcult. The adviser’s role is to assist students in realizing how their strengths help them to be successful in their positions. When selecting campus tour guides during my previous job experience, i knew that a desired trait important to the student tour guides was the talent of winning others over (Woo). Characteristics of Woo include but are not limited to: • Being approachable, outgoing and friendly, • exhibiting a positive attitude, enthusiasm and energy, • having the ability to quickly build rapport, and • Being attentive to others’ needs, being perceptive and being a good listener. This personality type is one of the many strengths from the stengths Quest assessment tool. (Clion, Anderson, & schreiner, 2006) This trait is important for most tour guides to be successful because of the various interactions they have with a diverse group of people on a daily basis. Being a campus tour guide would create a challenge for someone who does not have an outgoing, friendly personality; it would not be impossible, but it would be challenging, nonetheless. While there are a number of personality assessment tools you can research and pursue to use with students, it might be more convenient to work with another department on campus that already provides this service. A standard application is an essential component of the overall selection process. screening begins with the application submitted by the prospective student board member, which helps you make your ﬁrst determination of which candidates to move forward for an interview. if the application is missing information, has misspelled words or is “sloppy” in appearance,
that is a good indication the candidate is not thorough and pays little attention to detail. however, this does not imply that it is easier to dismiss applicants who do not meet speciﬁc standards than it is to determine who is best during an interview. interviews are the most challenging and informative form of measurement. As the interviewer, you want to know what the candidates have done, not what they may hypothetically do. The best predictor of future performance is past behavior. The focus should be on the traits pre-determined to be essential to build an eﬀective team. The more speciﬁc the example and the details presented in the interview, the better the indicator that the trait exists beyond the surface level. You have to pay attention and listen closely. some candidates are motivated and attentive, others are distracted or disinterested, but you have to remain focused and listen for key words that suggest this person meets the standards you have set. A consistent feedback system is necessary to truly assess desired traits and behaviors. Questions need to be consistent for all candidates in order to accurately compare them with each other. An adviser can help students create a scoring sheet to use in the assessment of each candidate. interviewees can be scored/assessed as to whether they possess the desired traits based on the following sample scale: • nonexistent • Weak • Average • strong • outstanding in addition to evaluating candidates on the desired traits, interviewers can still provide an overall impression based on all aspects of the candidate’s interaction. Trust your fellow interviewers to be objective and consistent, but hold each accountable when anyone makes a subjective observation. Aer you have each assessed candidates, come together as a group to discuss and share opinions. each person should be able to provide perspectives, some similar and some diﬀerent, the latter perhaps bringing out points that may have been missed by other interviewers. This healthy discussion and reﬂection of board prospects, based on the desired traits, will help to ensure that those who promise the best ﬁt are being selected Challenging, But Rewarding for an adviser, working with student programming boards can be challenging, but rewarding. The goals you hope to have accomplished at the end of the year start at the beginning of the year with recruitment; recruitment of students who want to gain leadership experience, have leadership traits, and want to be active in the outside-of-the-classroom learning experience. Campus activities does, indeed, provide this opportunity for student development.
References Clion, D.o., Anderson, e., & schreiner, l. (2006). StrengthsQuest: Discover and Develop Your Strengths in Academics, Career, and Beyond. new York: gallup Press. About the Author denise R. Poindexter is a program adviser at the University of Illinois at Urbana-Champaign. she
previously served as assistant coordinator for new student services at kansas state University and as an admissions recruiter at Arkansas state University. she holds a bachelor’s degree in management (information systems) from Arkansas state University and a master’s degree in public administration from Troy University (Al). in 2009, her article “first Year College experience for Parents” was published in the summer edition of African American Perspectives. follow her on Twitter: @TheDeniseP.
Editor’s Note: Articles written for the NACA® Leadership Fellows Series are crafted by participants in the NACA® Leadership Fellows Program, which serves as an opportunity for NACA members of diverse backgrounds to become familiar with Association programs and professional development opportunities. For more information on the NACA® Leadership Fellows Program, visit www.naca.org/volunteers/pages/leadershipfellows.aspx.
Back to School 2011 Campus Activities ProgrammingTM 43
RE-EnVISIOnInG YOUR PROGRAMMInG BOARd Five Phases that worked for Us By
Joshua Luce Sarah Lawrence College (NY)
44 Campus Activities ProgrammingTM Back to School 2011
Ave YoU Been exPerienCing ProBleMs with your student programming organization on campus? Are you having trouble identifying what isn’t working? The sarah lawrence College Programming Board recently underwent a major reorganization in order to address the group’s signiﬁcant structural issues. We learned much from that process and thought others might be interested in hearing about the challenges and successes we discovered along the way. Approximately two years ago at slC, we had an organization called the slC Programming Board, which was comprised of 10 paid student programmers. These students were paid hourly to host social programs for the campus that were sponsored by the oﬃce of student Activities. At that point, the organization consisted of a group of friends who had all applied together for these positions. While they enjoyed working together, they struggled to think broadly about the needs of the campus as a whole. There was also a sense that some students were simply in it for the paycheck, not for the betterment of the campus community. it was clear that something needed to change, or we could be stuck in this cycle for years to come. The speciﬁcs of our structure are less important than the method we developed to actually assess and reorganize our group. if this is something you are contemplating at your institution, our process may serve as a starting point for you.
Five Phases of Re-Envisioning our process can be broken into ﬁve phases, which are not necessarily meant to be followed linearly. While we were discussing reorganization, we did not think about our process in terms of phases; however, these basic steps organically evolved from our work. some of the phases will overlap or repeat, depending upon the needs of your organization. Think of them as a way of organizing helpful questions you may ask along the way. Phase 1: Brainstorming The ﬁrst two phases are all about collecting the information that will inform the rest of your work. Brainstorming is a somewhat obvious, but critical, part of the reorganization process. Whether you are looking at this from the standpoint of a student leader or an adviser, you will want to ask various questions: • What are the major problems we are experiencing in our organization? • Are there any simple solutions to these problems that do not require a total reorganization? • What are our strengths as an organization? • What are our weaknesses? • Ultimately, what are our goals and how does our structure support, or detract from, those goals? • if all roadblocks were removed (e.g., funding limitations, institutional policies), what would our ideal organization look like? • is it possible to adapt this ideal to our current situation? These may seem to be very simple questions, but oen the most basic questions are the ones we never actually ask. it’s important during this phase to try to break things down to a very fundamental level. Avoid discussing details and focus on big-picture goals and needs. We oen get trapped in arguments about the speciﬁcs (e.g., how leaders will be selected or how funding decisions will be made) and never fully understand what we’re trying to accomplish. input should not come only from within the group, but should also be solicited from the general campus community. This will help make students feel included and also make sure the feelings of the current members of the organization do not overshadow the needs of the larger community. frequent communication with the student body about your process will also help with student buy-in once you are ready to roll out your new plan.
Back to School 2011 Campus Activities ProgrammingTM 45
Phase 2: Benchmarking Benchmarking is also a critical step in the process of restructuring an organization. if you try to develop a plan in a vacuum, you will deprive your organization of some very helpful insight. no two institutions are identical, so learning how other schools manage their programming boards could open doors to many new possibilities. This phase can be shared by the whole group. Make a list of institutions you want to explore and ask each member to contact a few schools. Your list should include peer institutions, as well as schools of diﬀerent types and sizes. some important information to gather should include: • What is the programming structure (committees, event series, types of programs, etc.)? • What is the student leadership structure? • how are leaders selected or elected? What is the timeline for leadership transitions? • how is the organization advised? • how does funding work? is there a request process, or is the budget set up in advance? • What assessment tools are being used? As you collect and discuss this information, everyone should keep a list of diﬀerent components that resonate with them. This is another area where open dialogue with the entire student body can be helpful. While outsiders may not fully understand everything your organization does, they can oen suggest new ideas that were impossible to see from within. Phase 3: Implementation Aer collecting all of this information, you will need to make a decision on how to move forward. it may turn out that you decide to make small changes to your current system, as opposed to a major overhaul. how this decision is made will depend entirely on the culture of your organization. At some institutions, this may be something in which the student body or student government needs to be involved. At others, it may be something the group can decide from within. it may also be something initiated by administrators. no matter what, someone will need to make a decision for moving forward and that decision will need to be communicated to the campus. At this point, your structure should be relatively ﬂexible. You will not want to look like you are ﬂopping around without a plan, but you also need to understand that not everything will work exactly as you imagined. remembering to remain ﬂexible will allow you to quickly adjust when things do not go exactly as planned. Make sure to keep the avenues for outside feedback open throughout your initial implementation. Assessment is also a crucial part of implementation and can take many forms (surveys, focus groups, event reports, etc.).
Advisers will need to keep a few things in mind during implementation. first, be realistic about the time you can commit to helping your students through the reorganization. if you are able to set aside more time temporarily to be more hands-on, that’s ideal, but if not, make sure to be honest with your students about what they can expect from you. You should also make sure the funding for this new organizational structure is suﬃcient. You do not want to set up your organization for failure by deciding on a structure when there is insuﬃcient funding to support it. Phase 4: Solidifying Aer you have had a semester or two to try out your new framework, you will want to begin to review and solidify that structure. no one will be interested in continual restructuring, so there should be a point where you decide on your ﬁnal plan. There are always going to be growing pains, so do not expect everything to go perfectly at ﬁrst. students and staﬀ alike will need to get used to the new organization, but make sure to stay conﬁdent about the work you have done up to this point. if everyone in the organization can articulate to others why they feel the new structure works better, the community will eventually support your eﬀorts. if the organization seems divided, then it will be much harder to garner support. During the solidifying stage, you will want to think about the following: • Building Governing documents: governing documents can be an important part of the solidifying stage. for programming boards, these oen take the form of a short set of bylaws. remember to keep things as simple as possible to avoid confusion and frustration. • develop Your Membership: keep in mind that the members of this re-envisioned organization will need a lot of support during this transitional period. Advisers may want to increase the frequency of activities like retreats, trainings and teambuilding exercises. Make sure to add a little fun into these activities, so students are not overwhelmed by all of the “serious stuﬀ.” • Support Your Leaders: The student leaders in this group may seem like they are handling everything well, but you should make a point to check in with each of them frequently to get a sense of how they are really doing. Just knowing their advisor cares enough to ask how they are doing can be enough to reinforce their morale. • nurture Relationships with Other Organizations: A programming board’s relationship with other student organizations on campus can be critical to its success, so students will want to make eﬀorts to connect with key groups frequently. This can take the shape of meetings between group leaders, or co-sponsoring an event together. Anything to keep the lines of communication open will help others stay engaged with what you are trying to accomplish.
THE SPECIFICS OF OUR STRUCTURE ARE LESS IMPORTAnT THAn THE METHOd wE dEVELOPEd TO ACTUALLY ASSESS And REORGAnIZE OUR GROUP. IF THIS IS SOMETHInG YOU ARE COnTEMPLATInG AT YOUR InSTITUTIOn, OUR FRAMEwORK MAY BE A STARTInG POInT FOR YOU.
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Phase 5: Assessment and Transition As you conclude your ﬁrst year, you should take time to reﬂect on the work you have done and how that work has either supported or undermined the goals of your organization. As i mentioned earlier, it takes time for an organization to adjust to a new way of doing things, but aer a year, you should have some sense of whether the changes have helped. You should be able to evaluate the organization through the assessment information you collected throughout the year. it is easy to skip the assessment step as you get busy with new initiatives, but it is especially important during a year of transition to remember to keep assessment in mind. Assessment can mean a lot of diﬀerent things and does not need to be incredibly time consuming. in a transitional year, it may make sense for you to stick with simple techniques like electronic surveys, collecting attendance numbers, and asking your student programmers to submit event reports. When assessing your organizational structure speciﬁcally, you may want to take some more observational information into account, such as general group dynamics and how smoothly leadership transitions occur. in response to your analysis of these assessment eﬀorts, you may ﬁnd you need to make small adjustments to the organization. Typically, aer the solidifying stage, you do not want to make major changes. small tweaks can more easily be implemented at the end of a year or when selecting new leaders. leadership transitions can be a diﬃcult time for a new organization, so this is another point during which a more hands-on advising style can be helpful. new leaders should be primarily learning their roles from their peers, but it is diﬃcult to teach someone else a position that you
were the ﬁrst to ﬁll. students may choose to pass on records in notebooks speciﬁc to their individual positions. Advisers can ﬁll in any missing information and provide general support to the new leadership. finally, take a moment to congratulate yourselves for the hard work you have done during the course of the year. Creating change is an exhausting experience, but it should also be rewarding! Final Thoughts i hope the process we used for organizational change helps give structure to your own process, whether it involves smaller changes or a total overhaul of your group. here are just a few closing reminders: • Stay ﬂexible. Be careful not to commit to a new structure too quickly. • dream big! it’s easier to scale back big ideas than to try to expand smaller ones. • Keep things simple. it’s natural to want to overcomplicate things in order to plan for every possible occasion, but oen you bury the big picture under layers of bureaucracy. • Remember that communication is critical. keep lines of communication with the campus community open. This will minimize the possibility of rumors or complaints of lack of transparency. • Realize that student ownership is paramount. student ownership will ensure that you end up with an organization that is relevant and meaningful to the student community.
About the Author Joshua Luce is director of student Activities at Sarah Lawrence College (nY). he holds a bachelor’s degree in zoology and a master’s degree in higher education, both from the University of Maine. Active in nACA, he is currently the Diversity initiative Coordinator for the nACA® northeast regional Conference Program Committee (rCPC). Previously, he served as a graduate representative to the nACA® northeast regional leadership Team and as Communications Coordinator for the nACA® northeast rCPC. follow him on Twitter: @Joshualuce.
NACA Advancing Research in Campus Activities Award The purpose of the Advancing Research in Campus Activities Award is to provide monetary support and/or membership access to NACA members who are conducting research in the field of higher education, student affairs or campus activities. Each year, $500 is given for each of three awards, and another three awards are given by providing access to NACA membership for research sampling. For award guidelines and to find out more information about the NACA Advancing Research in Campus Activities Award and learn about other NACA Research Initiatives, visit: www.naca.org/Education/researchinitiatives/Pages/default.aspx Drive Development and Scholarship in the Campus Activities Profession Apply Today!
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nACA速 Regional Conferences Fall 2011 For more info check out www.naca.org
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STUDENT-DRIVEN PROGRAMMING MODEL: A Model for Campus Activities Boards By Amanda Horne and Lacy Claver, Stephen F. Austin State University (TX) We have shared a problem many of you may have also experienced: ﬁnding ourselves, as advisors, frustrated by the fact that, for the ﬁrst few weeks of school, our programming board had a large membership eager to help, but as the weeks passed, their numbers began to dwindle. students became hard to motivate and leaders would not follow through on things they had agreed to do. one day, during a brainstorming session, we realized the problem was the structure of our program. our oﬃcers were the ones creating and planning all of the activities on campus and our general members were being used for legwork. The members did not have the same buy-in as the oﬃcers because they did not share in the ownership of the activities. instead, they were simply implementing someone else’s vision. Consequently, we developed a model that has virtually eliminated these issues for our programming board. We created a selection process, along with membership requirements, leadership opportunities for all members (not just oﬃcers) and an accountability and recognition system. We would like to describe what we identify as the student-Driven Programming Model and how implementing it can help give student programmers more control of and buy-in for their programs.
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each semester, hundreds of students apply to take an available spot on our 70-member programming board. on average, 10 to 15 new members are selected in the fall and ﬁve to 10 in the spring. Applicants are required to complete an application on which they are asked to explain what they think are the responsibilities of a member, what they want to gain as a result of being on the board and, if chosen, how can they help the organization. Aer submitting the application, applicants sign up for group interviews, which are conducted by oﬃcers and general members. This process provides an opportunity to see how applicants work with others and how they stand out in comparison to their peers. general members are involved in the interview process as a way to give them ownership in both their program and their board. While the oﬃcers determine the ﬁnal list of new members, general members give feedback on applicants they have interviewed. following the interviews, applicants are invited to attend a meet-andgreet where they have the opportunity to learn more about the organization and interact with current members. At this event, each general member votes on two people they would like to see join the organization. regardless of their interview, the applicant who receives the most votes by the members is given a position on the board. Allowing members to choose a new member strengthens their commitment to ﬁnding the best applicants possible. Turning away hundreds of applicants each year may sound surprising, but we do so for several reasons: • seventy members is a manageable number from an advisor’s standpoint. • We are able to select the very best applicants. • limiting the membership is costeﬀective. • We are able to create a family-like culture within the board.
each member is required to work a pre-determined number of events per month, based on how many events are scheduled. Members are able to choose which events they work, based on their availability. on average, our members work three to four events per month.
Membership Requirements We attribute the success of the student-Driven Programming Model to our requirements for membership.
each member is required to plan an event for the following semester. Conducting Assessment
each member is responsible for collecting data on their event through a studentvoice survey, a focus group or a reﬂection activity. The members will report their ﬁndings at a weekly meeting. each member is also required to meet with an oﬃcer and complete an event evaluation in which they identify the overall expenditures, cost per person, problems and successes and, if given the opportunity, what they would do diﬀerently.
Bonding/Enculturation The Merriam-Webster Online Dictionary deﬁnes culture as “the customary beliefs, social forms, and material traits of a racial, religious, or social group” (http://www.merriam-webster.com/dictionary/culture). Changing the structure of our organization deﬁnitely changed its culture. By implementing an application and interview process, setting requirements for membership and empowering all of our students to be leaders, we created a culture. We have given our students a sense of empowerment and, in the process, have created a family. our members are proud of who they are and the services they provide. They show support for one another’s events, they share in each other’s successes and they share constructive criticism with one another. This is achieved by treating everyone as equals. our new members are allowed to do everything our older members are allowed to do, such as vote and propose events. our oﬃcers are required to complete the same tasks as the general members. We allow any member who has completed one full semester in the organization to run for an oﬃcer position. A contributing factor to the organization’s family culture is the retreats we hold each semester. At a retreat, we have each member share their “life line” with the group. A “life line” is a story that shaped them into the person they are today. some “life lines” are funny and some are sad, but the “life line” activity helps members understand each other. it singlehandedly creates a bond among the members. Members are also given a dog tag that displays the nickname given to them through the organization. each nickname is unique to the speciﬁc member and no nickname is ever repeated.
Accountability and recognition are ways to support structure. It is important to teach students life is about making choices and that they are responsible for both the positive and negative choices they make.
each member is required to sign the annual membership contract, which details member expectations and outlines the accountability structure. The contract serves as a reference for situations that could arise and what the end result will be. for example: “If I fail to show up on time to an event I am scheduled to work, I understand I will receive one strike.” This alleviates any confusion for members. each member is given a copy of the contract for their records and the signed copy is ﬁled in the oﬃce in their membership folder. Board Meeting Attendance
each member is required to attend the weekly meeting where upcoming events are discussed. if a member misses a weekly meeting, they are responsible for coming to the oﬃce and signing the minutes. Maintaining Oﬃce Hours
each member is required to work one oﬃce hour per week. During an oﬃce hour, a member may make posters, hang ﬂiers, facilitate a nooner, etc. The oﬃce hours are scheduled around the member’s schedule.
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Leadership When reorganizing the structure, our priority was to create leadership opportunities for everyone involved, not just our selected leaders (oﬃcers). it was necessary to provide students with a structure that would allow them to grow, to feel like they were vital to the organization and allow them to learn from their successes and failures. it was important that all members become stakeholders in the organization and have an opportunity to create, improve and share in the leadership. We chose to model our organization aer sanford’s Theory of Challenge and support, which
reveals student learning works best when there is an equal balance of both challenge and support. According to Dalton and Crosby (2008), “student learning and development in college depends greatly on an optimal balance of challenge and support. Challenge is necessary to motivate personal exploration, reﬂection and risk-taking. support is needed in those inevitable times of vulnerability, uncertainty, and failure that can threaten to overwhelm a student” (p.1). our model diﬀers from most because we encourage each member (new and old) to be a leader at least once a semester as an event coordinator. Event Proposals
each member is required to propose an event for the following semester. They are responsible for planning every aspect of it, from creating a budget and identifying the target audience to creating a marketing campaign and identifying learning outcomes for participants and/or attendees. They must identify how many members they will need to work the event and what their duties will be. They must identify potential risks and what measures they will take to minimize them. The event proposal process is one of three-parts. Members ﬁrst complete an event proposal sheet that details the event. Then, they propose their event to the oﬃcers at their weekly meeting. The oﬃcers will determine whether or not an event will continue onto the general membership. The only reason to not pass an event is if the proposal fails to provide the required information or if it is evident the member has not put thought into the event. if the oﬃcers pass the event, the member will then propose the event to the general membership at a weekly meeting. Then, the board will vote whether or not the event is passed for the following semester. The event proposal process is beneﬁcial to members because they are challenged to think of new and creative ideas or ways to improve a past event. They are also challenged to work with people with whom they would have never had the opportunity to work. if they want to bring in an artist, they are responsible for contacting the agent to negotiate terms and request a sample contract. not many college students have this opportunity. Events
students take the lead on their events as soon as the semester begins. They will either create or work with the Pr oﬃcer to create a ﬂier design. They plan all campus and social media marketing. They also work with staﬀ to schedule event spaces, technicians, catering, etc. They do all of the shopping for the event. They also conduct auditions, dress rehearsals, sound checks, etc. The night of the event, the coordinator conducts a pre-event meeting to share details with workers and assign responsibilities. During the event, the coordinator calls all of the shots. if a microphone does not work or an artist is arriving late, they quickly troubleshoot the issue. however, if they cannot ﬁnd a solution, an oﬃcer is there to assist them. following the event, the coordinator facilitates the clean-up process and determines when all workers are dismissed. every event coordinator is paired with an oﬃcer for their event. The oﬃcer’s role is to check in with the coordinator and help troubleshoot any issues. The oﬃcer also attends the event to support the coordinator. The coordinators are responsible for creating an event evaluation. This helps them measure/evaluate their successes in reaching their goals and learning outcomes. it helps them determine areas for improvement for themselves as a coordinator and the overall event. They must complete the evaluation within one week of their event. They also share any data collected from survey results and identify whether or not they achieved their goals and learning outcomes. The coordinators share their completed evaluations with the entire membership at the weekly meeting following their event.
Goals and Learning Outcomes
each coordinator is responsible for outlining one to two goals and learning outcomes for their event. initially, we meet with them to discuss their event, why they are doing it and what they want to achieve as a result of facilitating it. it is important they have the opportunity to set their own goals and learning outcomes. Aer all, the event represents their vision. Typically, they work harder to reach the goals they have set and having them identify learning outcomes changes the way they view their event. for example, last fall, a student proposed a version of Fear Factor in which contestants would eat “gross” foods. initially, the coordinator wanted to stage the event because it would be fun to watch people eat “gross” stuﬀ. however, aer we had a discussion about what this event could teach other students, it found an entirely diﬀerent focus. it became a teachable moment for participants and attendees. one learning outcome for the event was for students to be aware that a fear can be overcome with knowledge. As the participants were challenged with various tasks or ate various foods, they learned much about overcoming fear.
Accountability and Recognition Accountability and recognition are ways to support structure. it is important to teach students life is about making choices and that they are responsible for both the positive and negative choices they make. By holding students accountable, we create teachable moments, opportunities to sit with them and discuss what they did well or what they could have done diﬀerently. A recognition system is a way to reward them for their hard work. The NACA Competency Guide for Student Leaders (available online at www.naca.org/MediaCenter/Digitallibrary/Pages/Digitallibrarysearch.aspx) is a useful tool to evaluate your students at the beginning, middle and end of their term. it can be used to provide guidance and set goals to hold them accountable. if they meet their goals, you have something to celebrate. if they do not meet their goals, you have an opportunity to discuss with them the reasons why. our organization utilizes both an accountability and recognition system. our students are empowered to make their own choices. They also understand the outcomes of their choices. Accountability System:
We use a strike system as a way to hold students accountable. it is crucial to promote this system as one of accountability and not punishment.
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The strike system gives students freedom to make choices. for example, a student can receive a strike for missing a meeting or oﬃce hour. if the student receives a strike, they are given an opportunity to complete an appeals form. The form is read word for word at the oﬃcer meeting. if the oﬃcers do not pass the appeal, the student is notiﬁed by the president. students are allowed to receive three strikes before their membership is in jeopardy. once a member receives three strikes, they will read all three of their strike forms and any appeal forms to the board. The board will vote whether or not to allow them to remain a member. if a member receives four strikes, they must meet with the advisors and president to discuss their commitment to the organization. Recognition System:
We use a point system as a way to recognize our students for going above the minimum requirements. Members can receive points for working extra events, completing extra oﬃce hours or volunteering around campus. our recognition rewards include: • Members earning 100 points receive a car decal showing the organi-
zation’s logo. • Members earning 200 points are recognized at the weekly meeting and receive a T-shirt with a special logo. They also have a monthly “family dinner” during which they get together and socialize. • Members earning 300 points receive an embroidered backpack. • Members earning 400 points enjoy such perks as signing up ﬁrst to work events, receiving special seating at certain events and possibly having dinner with an artist.
Student-driven Success The student-Driven Programming Model has taken our organization from ending a year with only four members in the organization to graduating more four-year members than ever before. We have dozens of alumni come back to attend our major events and several campus organizations mimic our structure. While the transition did not happen overnight and is a continuous process, it has given us a foundation to develop student leaders, increase retention and positively impact our campus community.
References Dalton, J., & Crosby, P. (2008). Challenging college students to learn in campus cultures of comfort, convenience and complacency. Journal of College and Character, 4(3), 1-5 Merriam-Webster Online Dictionary. retrieved June 16, 2011 from http://www.merriam-webster.com/dictionary/culture.
About the Authors Amanda Horne is assistant director of student Activities at Stephen F. Austin State University (Tx). Active in nACA, she is the nACA® Central rCPC Block Booker and the 2011 huge leadership Weekend Coordinator. she previously served as the nACA® Central Block Booking Coordinator in 2009 and as a huge leadership Weekend mentor in 2010. she holds bachelor’s and master’s degrees in communication, both from stephen f. Austin state University. follow her on Twitter: @sfAjane.
Lacy Claver is assistant coordinator of student Activities at Stephen F. Austin State University. she has written for Campus Activities Programming™, as well as for the Association of College Union international’s The Bulletin, in the past. she holds a bachelor’s degree in human sciences and a master’s degree in interdisciplinary studies, both from stephen f. Austin state University.
nACA STRATEGIC PLAn Here are some of the specific actions recognized as the top priorities for each goal: Goal 1: Professional development
Goal 4: Inclusive Membership
Through the development of a comprehensive educational strategy, NACA will be the preeminent learning source for its members. Actions to be taken: Use the Steps to Individual Excellence as a Campus Activities Professional and the College Student Leader Competency Guide as the foundations for volunteer and curriculum development. Evaluate and modify the new Regional Conference Program Committee structure. The National Volunteer Development Team will examine and improve the various components of volunteer engagement.
NACA will develop and implement programs and services that support its diverse and inclusive membership culture. Actions to be taken: Collaborate with state and local campus activities organizations in an eﬀort to provide educational opportunities to professionals and students. Explore the possibilities of international relationships to position the members of the Association for a global education and entertainment marketplace. Engage members and non-members through e-learning and social media to develop a stronger, more frequent connection to the Association.
Goal 2: Research Through NACA’s eﬀorts, there will be a robust research agenda that advances campus activities in higher education. Actions to be taken: Continue to grow the year-old digital library. Review data from the Student Aﬀairs Assessment & Knowledge Consortium. Reﬁne the research agenda for the association and promote participation in research grant programs.
Goal 3: Knowledge Source NACA will be increasingly considered the most credible and trusted source of information about campus activities among our members, higher education and the entertainment industry. Actions to be taken: Serve as a resource for data about campus activities and the college market overall; Further develop the NACA brand by solidifying the message, developing concepts and ensuring consistency; Market the value of this information to all constituencies.
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Goal 5: Business networks All NACA members will see increased value in their participation and access to business opportunities. Actions to be taken: Explore non-dues revenue sources including new sponsorships. Improve the NACA website. Maximize opportunities to encourage and facilitate productive change, in part through reducing cultural and operational barriers within the Association which may impede change. Increase opportunities to preview talent via technology.
Goal 6: Advocacy Through proactive advocacy, NACA will increasingly inﬂuence the dialogue on campus activities issues. (This is a long-term goal.)
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“To Boldly Go” Where No Programmer Has Gone Before By
Chris O’Connor Campbell University (NC)
Searching for innovative ideas for new programs can often seem like a galactic struggle as you strive to come up with the next hot event. Fortunately, there are some fantastic lessons to be learned from the galactic struggles found in storylines of popular science fiction TV shows and movies. This genre has always been known for its innovation, as well as its creativity, and has contributed some truly memorable characters and stories to our culture. There are actually a number of lessons that sci-fi works like Star Wars and Star Trek can teach us when it comes to campus programming.
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Taking Risks “TrY noT. Do or Do noT. There is no TrY.” —Yoda, The Empire Strikes Back in The Empire Strikes Back, luke skywalker goes to the planet Dagobah to learn the ways of the force from Jedi Master Yoda. While attempting to use the force to li his x-wing spacecra out of the swamp, he tells Yoda that he will give it a try. Yoda then informs him that he should, “Try not. Do or do not. There is no try.” Yoda’s wisdom is applicable to every challenge we face in life, and is particularly relevant in student programming. When trying new programs or taking some risks with our events, do we “try” or do we “do?” The diﬀerence is in the attitude. As programmers, sometimes we are afraid to completely commit ourselves to new ideas. Do we jump in with all of our eﬀort and commitment, or do we hold back a little? it is very easy to settle into “safe” programming; aer all, who wants to risk being responsible for a disaster of a program? however, sometimes it is important to take a few risks or programs may become stale and repetitive. Break with Past Traditions Are you holding on to an event just because it’s been done every year? it might be time to cut it loose. Just because something has always been done does not necessarily mean it should be done. While traditions can be great programming resources, they can also tie us down. Take time to evaluate the events you hold every year and see if something needs to be changed, updated or even eliminated. Don’t be afraid to cut something old to make room for something new. Push the Limits in order to break through all of the competing distractions bombarding students, sometimes events have to push the boundaries a little bit to get noticed. This could look very diﬀerent, depending on the individual campus. Pushing the limits might be a controversial speaker, a new type of service project, or even something as simple as a new programming series. Take a look at how far you can push the limits at your school without going so far your board would receive negative attention from either your students or your administration. sometimes, a lot of learning and quality conversation can come out of a little controversy. Learn from Mistakes sometimes, it’s okay to fail. What counts most is what we do with events that don’t turn out as planned. Don’t be afraid to try a risky event; it may turn out better than you think. even if it does fall apart, it’s a great opportunity to have a discussion about what went wrong and use it to make your other programs better. When attempting innovative programming, a few mistakes along the way are to be expected.
Learning from the Past “All This hAs hAPPeneD Before, AnD All of iT Will hAPPen AgAin.” —scrolls of Pythia, Battlestar Galactica in the re-imagined version of the Tv show Battlestar Galactica, human civilization has been destroyed by a race of cybernetic beings of their own creation known as the Cylons. The last human survivors are looking for a planet called earth, where they hope they will be safe. Through the course of the show, we learn that throughout history, humans have been stuck in a cycle of creating artiﬁcial life forms, abusing them, and then ultimately being destroyed by them. one of the main concepts in the show is a prophecy that, “All this has happened before, and all of it will happen again.” in this context, humanity is ignorant of its past, and continues to make the same mistakes. Many times in programming, we make the same mistakes over and
over again or host the same event year aer year with few changes or improvements. reﬂecting on past events can be a great resource to help with events in the future. What can we improve upon? What can we change? how can we add innovation to our past events? These are all great questions to ask. Seek, Listen and React to Criticism Most of us do some form of assessment of our programming, but oen, we just look at the good numbers and don’t seek actual criticism. Criticism can be diﬃcult to take, but it’s an important part of the learning and assessment process. Whenever we do receive criticism, it’s also important to actually listen to it and understand where it is coming from. At a recent activities board meeting, our group discussed some critical comments made about one of our events on facebook. Phrases like, “They just don’t understand how things work” and “it’s their own fault” were uttered multiple times in response to the postings. While it may be true that these students may be unhappy because they didn’t grasp the purpose and concept of the event, critical comments should not be summarily dismissed. instead, we should seek to understand where such dissatisfaction originates and see if there is an actual problem that needs to be addressed in the future. Adapt and Change Programs shouldn’t be static; they should be constantly evolving and changing, especially traditional events that happen every year. it’s very easy to simply break out the game plan from last year for homecoming, slap a new theme on it, and move on, but this leads to stale programming. students change every year, and what worked last year might not have the same impact this year. it’s important to stay ahead of the curve and keep events fresh. Spice up Past Events old events are not necessarily bad. obviously, something is going right because they have been going on for so long. however, there are a few simple ways to add some spice to old events and give them a new spin. • Add a community service element. Tie your event to a need in the community and you can make a new impact. • Bring in a big-ticket item. splurge a little with your budget and bring in something really special at one event each year. • Consider rebranding. Maybe you don’t need to change your event at all, just how it is presented to the students. A new marketing campaign might be all it takes.
Building Alliances “The reBel AlliAnCe is Too Well eQUiPPeD. TheY’re More DAngeroUs ThAn YoU reAlize.” —general Tagge, Star Wars in Star Wars, the vast military machine of the galactic empire controls hundreds of star systems. Yet, in the end, it is defeated by the cobbledtogether forces of the rebel Alliance. Although they are a much smaller force, by banding together resources from many diﬀerent alien worlds and using tactics, teamwork and good leadership, the rebels are able to stand up to a challenge that is much bigger than they are individually. This concept can be applied to programming, as well, when someone has an idea that might seem too big, or when looking for new perspectives. Bringing in allies and sharing resources is a simple and eﬀective way of stretching your budget and resources across the galaxy, or at least across your campus. Understand that diﬀerent Perspectives Are Vital The ﬁrst step in building successful alliances begins within the organization. having a diverse board that brings many diﬀerent backgrounds and experiences to the table is very important when looking for innovation. Without a board that is diverse and representative of the student body,
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many perspectives will be lost. however, true innovation goes a step beyond this. Creating an environment of respect and safety must be a priority, as well. if board members feel like their ideas will not be respected, they are much less likely to share them and, instead, merely go along with the majority. Building a sound alliance begins at home with internal respect and courtesy. Consider Co-sponsorships With so many diﬀerent organizations and departments on any given college campus, there are a great deal of potential partners available. While co-sponsorships can be risky and diﬃcult to keep up with, they can also be rewarding. Bringing in several partners to pay for a speaker can not only save you money, but also boost attendance by tapping into several departments’ or organizations’ networks. Be sure to follow up with your sponsors aer the event, as well, and keep the lines of communication open for the next event. even if things didn’t go as planned, it’s important to keep as many bridges open as possible.
Assimilating Ideas “We Are The Borg ... . We Will ADD YoUr BiologiCAl AnD TeChnologiCAl DisTinCTiveness To oUr oWn. YoUr CUlTUre Will ADAPT To serviCe Us. resisTAnCe is fUTile.” —Borg Collective, Star Trek: The Next Generation in Star Trek: The Next Generation, the enterprise encounters a race of cybernetic beings known as the Borg. The Borg search the universe for species and technology they can conquer and assimilate into their own culture in order to make themselves stronger. The Borg are a formidable opponent for the federation because by taking the best parts of all of the civilizations they have encountered, they have created some of the most advanced technology and ships in the galaxy. Assimilation is also a great tool for programmers. There are ideas for events everywhere, from nACA to other schools and even in everyday life. The challenge is to recognize them and bring them into your programming. Realize that Good Ideas Are All around You innovative programming ideas can be found anywhere. in our programming at Campbell University, we’ve used ideas from local radio contests, events on a cruise ship, suggestions from students and parents, or even programs at other schools. Whenever i see someone hosting any kind of event, my ﬁrst thought is, “i wonder if our activities board could use this somehow.” Being aware and constantly looking for new ideas in everyday places is a great way to innovate. A few ideas that are good places to start include: • networking with other nearby colleges • nACA® regional Conferences and the national Convention • local festivals • vacations • Tv shows draw from Outside Experience encourage your board members to share their experiences outside of your organization at a meeting. Maybe someone did something exciting when they were in their high school, with a church youth group, or as part of a volunteering experience during the summer. some of our best ideas have come from students who have been involved in other activities and brought ideas from those activities with them. once again, an open environment can lead to innovation by creating a place where students can share ideas that might not apply to their speciﬁc programming responsibilities, but could be great ideas, nonetheless.
Pushing the Limits science ﬁction brings us incredible stories of the future and helps us push the limits of what is possible. As programmers, we should always seek out innovation and creativity in our programs and push the boundaries of what we can do. Programming is constantly evolving and changing, and while it may be easy and safe to fall into a routine, great programmers are the ones who take chances and create programs students have never seen before.
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Many times in programming, we make the same mistakes over and over again or host the same event year after year with few changes or improvements. Reﬂecting on past events can be a great resource to help with events in the future.
References kurtz, g (Producer), & kershner, i (Director). (1980). The empire strikes back [Motion picture]. UsA: 20th Century fox. eick, D., & Moore, r. (Producers). (2005). Battlestar Galactica. [Television series]. UsA: Universal studios home entertainment. roddenberry, g. (Producer). (1989). Star trek: the next generation [Television series]. UsA: Paramount home video.
About the Author Chris O’Connor is director of student Activities at Campbell University (nC). Active in nACA, he is currently registration Coordinator for nACA® south. he holds a bachelor’s degree in history and communication studies from the University of north Carolina-Chapel hill and a master’s degree in higher education administration from north Carolina state University.
How to WIN MEMBERS and INFLUENCE STUDENTS Part I By
Mitch Heid St. Cloud State University (MN)
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AM sTAnDing in A rooM filleD WiTh ChAoTiC ConversATions—conversations i have asked all these people to have based on colored note cards i have provided. The green ones (which went to half of the room) have conversation topics on them and each “green” has to have two conversations: one with a red note card bearer and one with a yellow. The red and yellow note cards list instructions on how to guide the conversation. The yellows are told to smile, make eye contact, let greens do most of the talking and to call green by their correct name. The reds are instructed to do the exact opposite. When i bring the entire group back together, i ask the greens, “if reds and yellows were each representatives of groups that were trying to recruit you, which would you be more likely to join?” The answer was unanimously, “Yellows.” Then i asked the reds if they found it diﬃcult to guide a conversation in which they never smile, never make eye contact, do most the talking, and call the other person by the wrong name. The answer was again unanimous: “Yes.” Conversely, the yellows had an easy time guiding their conversations. And that is exactly the point. in 1937, Dale Carnegie published a book called How to Win Friends and Inﬂuence People. Don’t let the title fool you. it is less of a self-help book and more of a study in communication, and eﬀective communication, at that. in it, he presents very simple concepts, some of which were used for the yellow note cards in the exercise i described, that allow people to better communicate. These concepts are simple, but they are also powerful and relate to many things in life. They also very easily lend themselves to recruitment and retention of group members. The book is divided into four sections, but for our purposes, we’ll focus on the middle two sections and apply them to recruitment and retention. The ﬁrst section we will explore is “six Ways to Make People like You” and can be thought of as “six Ways to Make People like Your organization.” it focuses a lot on recruitment strategies. The second section is “Win People to Your Way of Thinking,” but we will call it “keep People in Your organization.” Again, all of these concepts are simple in nature, but powerful in implementation, and will certainly help in recruitment and retention of members or any organization.
you are passionate about what you do, want to help people, or really think your organization is helpful and has a lot to oﬀer, be genuine in your questions and conversations. Be a genuinely excited dog. 2. Smile. This is the most important item on this list. if there is one thing you get from this article, let it be the knowledge of the power of a smile. Think of a baby. When a baby smiles, you smile back. You can’t help it. smiles are the ultimate form of positive communication and absolutely must be used when recruiting members. But, what if you are having a bad day? everyone has one and it makes it impossible to smile. luckily for us, we know that actions control emotions. if you are having a bad day, take a walk. And on that walk, force yourself to smile. it is the action that controls the emotion and not the other way around. By the time you make it back from your walk, you will likely be in a better mood. When i make presentations, i have people pair up. The person on my le is instructed to conjure up the weirdest, most goofy and silly smile they can possibly manage and then look at the other person. The result? Always resounding laughter and returned smiles. Try it for yourself with someone you know. i bet you will be received with a giggle and a smile and maybe that person will share that with another person, and the chain continues—because smiles beget smiles beget smiles beget smiles.
WE ARE NOT FRIENDS WITH PEOPLE BECAUSE THEY TALK. FRIENDSHIP IS REALLY BUILT ON LISTENING.
“Six ways to Make People Like Your Organization” 1. Become genuinely interested in other people. in his book, Carnegie points out that the only domestic animal that does not have to work for a living is the dog. A cow gives us milk to drink, we ride horses and race them, and cats are sometimes brought in to deal with a mouse problem. The reason we own a dog is because when we come home, there is a happy face and a wagging tail attached to a creature that has been waiting all day to see us. it’s a dog that is genuinely interested in us, and that is its only purpose. We can learn a lot from man’s best friend. if you are trying to think of examples of other animals that don’t work for a living, you are missing the point. it’s not that a dog doesn’t work; many do. The point is it doesn’t have to work because it has learned how to be genuinely interested in “other people.” This is a simple enough concept. however, this quality is not the fake niceness so many of us project in our daily lives. Consider when you go to a restaurant and your server gives you the feeling they are really only working you for the tip. it’s not a good feeling to sense you are being used for their purposes. so, when recruiting, we need to make sure our eﬀorts come from a place of genuine interest. Whether 58 Campus Activities ProgrammingTM Back to School 2011
3. Remember that a person’s name is to that person the sweetest and most important sound in any language. We all love the sound of our own name. When someone messes up your name, it bothers you a little, but when they get it right, that can make your day. More important than that, though, is when somebody actually knows your name and uses it. for recruitment purposes, always try to learn people’s names and use them in conversations with them. People want to be a part of organizations where they will be recognized, because recognition is the ﬁrst step to appreciation. if you are already a member of an organization, you might take it for granted that people call you by your name. But to those potential members, it might make all the diﬀerence that someone has recognized them and taken the time to learn their name. An excellent tool for learning and using names that lends itself to both recruitment and retention is the laminate (a laminated name tag). At st. Cloud state University (Mn), we make laminates for all of our events. This works for recruitment because they are personalized and have individuals’ names on them. They also work for retention because members keep their laminates and have many memories at home attached to lanyards.
4.Be a good listener. Encourage others to talk about themselves. Think of your best friend—that person you feel you just could not get through life without. Do you have that person in mind? Admittedly, they might be your best friend because you go shopping together, have class together, live together or whatever. But if you really think about it, i bet you’ll realize the person you have in mind is the one who listens to what you have to say more than anyone else. We are not friends with people because they talk. friendship is really built on listening. Use this idea when recruiting members. People want to talk about themselves and if you give them that opportunity and encourage them to do so, you and your organization will stand out in their minds. Aer all, extra-curricular organizations are where friendships are built.
5. Talk in terms of other people’s interests. People are rational and make decisions that reﬂect their own self-interest. That is not my personal claim—it is the basic idea on which the entire study of economics is built. People ﬂock towards what they are interested in and what serves those interests. This is not necessarily a bad thing. in fact, it is those interested people who make up a strong organization. When recruiting, don’t bore potential members with all the things you have and can do. Ask them what interests them. Chances are they will be interested in something speciﬁc that your organization does. Then, focus on that. speciﬁcally, with a programming board, a lot of diﬀerent interests are represented and people will join and allow themselves to be recruited if their interests can be served. 6. Make the other person feel important— and do it sincerely. There are four basic things every human being needs: food, water, shelter, and a feeling of importance. We actually do need that feeling of importance to live. You might call it “a reason to get up in the morning,” “a sense of purpose,” or “a feeling that what you do matters.” Whatever the case, it all comes down to a feeling of importance. Potential members want to feel that, too. And they are important because they will be the ones brainstorming ideas, volunteering at events, or even coming to events. if organizations don’t have members, they do not exist. so, act on that belief when recruiting members and make them feel important. sincerity matters, though. remember you are dealing with college students—young men and women who are intelligent enough to know when somebody is pandering to them and not being genuine. if you cannot make potential members, or even existing members, feel important in a sincere way, don’t even bother trying to recruit them because you will only drive them away from your organization.
7. Smile. Did i say that already? good, because it’s that important. A smile travels further than words and a warm smile is the most appealing welcome mat for potential members. smiles convince potential members they would be joining a group whose members get happiness from being involved and they are drawn to that. Being involved in organizations and programming boards is fun and brings us all a lot of happiness. never lose sight of that and share it with others in the form of a smile.
An Understanding of what Potential Members Are Seeking As promised, none of these concepts are mind blowing or diﬃcult. in fact, you may already be utilizing some of these techniques when recruiting members. And that is the point. Consider how you have already done some of these things and then evaluate how and why they work. Your goal is to be more conscious in the future about your use of these techniques and to realize you are using them when you use them. You will also realize these techniques are not manipulative and, when you use them, you are not trying to trick anyone. You simply have developed an understanding of what potential members are already seeking.
As for Retaining Members … Go to the web! What about retaining these members you worked so hard to recruit? if you would like to learn about how Carnegie’s techniques apply to retention of organization members, see Part ii of this article on the nACA website at http://www.naca.org/MediaCenter/Pages/CampusActivitiesProgramming Magazine.aspx.
About the Author Mitch Heid is a program adviser at St. Cloud State University (Mn), where he works in the Department of Campus involvement for the University Program Board. he has presented educational sessions for nACA at the regional and national levels. he is currently pursuing a master’s degree in business administration at st. Cloud state University, where he previously earned degrees in ﬁlm studies and creative writing. he has previously served his student union as a building manager and as the ﬁlms coordinator for the University Program Board.
INVEST IN TOMORROW’S LEADERS. The NACA Foundation helps fund scholarships for deserving students, professionals and associates through means of tuition, books and supplies, and even NACA Institute or Convention registration fees. To make a gift to the foundation, please visit www.naca.org/SCHOLARSHIPS/Pages/Donate.aspx Make a gift today and help invest in tomorrow’s leaders. The NACA Foundation is a 501(c)(3) organization; all gifts to the Foundation are tax-deductible to the extent allowed by law. If you have any questions about the Foundation, please contact Paige Jeffcoat at email@example.com. Back to School 2011 Campus Activities ProgrammingTM 59
So, You Want to Create a
STREET TEAM? By
Katie Kelsey Creighton University (NE)
reighton University’s (ne) Program Board created its street Team in June 2010 as a way to engage more fully with its student body aer the organization restructured how it marketed and worked events. in the past, the Program Board would select students to be on concert crews or serve as extra hands at events, but the Board wanted to create a group that was a more consistent part of the team, that could better gauge students’ opinions, that could brainstorm and implement creative marketing strategies, and whose members would potentially apply to be on the Program Board when selection time came around.
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Requirements There are certain requirements we established to ensure that our street Team members are held accountable. first, we mandated they have a minimum gPA of 2.5 and that they are in good academic and judicial standing with the University. Because our street Team terms are in place on a semester basis, we decided that Team members could miss two events or meetings during each semester. finally, we have our street Team members sign an agreement stating they will uphold our University’s and organization’s mission and values. Responsibilities street Team members are responsible for picking up packets of information that outline what needs to be done each week. Projects they might be assigned include hanging posters and ﬂiers, wearing their Program Board T-shirts on certain days to enhance awareness of the organization or an event, working promotional tables during lunch shis, and promoting weekly events in creative ways. They are also required to attend Program Board events, working at them by handing out programs, recruiting last-minute people to attend, counting attendance and ensuring that students complete evaluations at the end of events. Additionally, they are responsible for proposing potential events and planning one event per semester. First-Year Assessment Aer one year of having a street Team, we have learned a lot and are looking to make a few improvements for the fall 2011 term. some of these improvements include working on how we show appreciation for these students, be it formal recognition at our end-of-the-semester celebration or certiﬁcates of appreciation, or in smaller ways through thank-you letters/emails and invitations to Program Board dinners. We are also looking to improve our communication with this part of the organization by including them in more meetings in which we discuss event details, adding them to more emails, and working with our street Team Coordinators on what information they present and how they oﬀer it to their street Team members. With that said, we have experienced many successes in our ﬁrst year. We discovered that members really enjoyed that street Team involvement required only a one-semester commitment and that they knew well in advance what events they were required to attend.
Motivated and Creative This component of our organization was student initiated and led, which kept our motivation levels high and allowed our students to be creative in their approach. We also learned that by calling the street Team members a part of the Program Board and giving them Program Board T-shirts, they felt more like they were a part of the larger organization and were more committed to it, as a whole. want to Start Your Own Street Team? if you have any questions about starting and working with your own street Team, contact me at: firstname.lastname@example.org.
About the Author Katie Kelsey is assistant director of student Activities at Creighton University (nE). she previously served as a residence hall coordinator at saint louis University (Mo) and as a student Activities graduate assistant at seattle University (WA). Active in the national Association of student Personnel Administrators, she served as a 2010 nAsPA region iv West Conference Committee member. she holds a bachelor’s degree in journalism from Creighton University and a master’s degree in education from seattle University.
… the Board wanted to create a group that was a more consistent part of the team, that could better gauge students’ opinions, that could brainstorm and implement creative marketing strategies, and whose members would potentially apply to be on the Program Board … . 62 Campus Activities ProgrammingTM Back to School 2011
OPERATION into OPPORTUNITY The Power of Integrating Data through Multiple Assessment Approaches By
John D. White, PhD StudentVoice (NY)
Back to School 2011 Campus Activities ProgrammingTM 63
hE CALL FoR ACCoUNTAbILITy IN hIGhER EDUCATIoN is not a new concept for student aﬀairs professionals. Working in the current ﬁscal environment on many campuses requires that practitioners collect and use data for both the purposes of decision-making and to provide evidence of the impact of their programs and services on the student experience. Developing an approach to maximize assessment eﬀorts may challenge the commonly held belief that assessment is primarily a project-based activity (e.g., administering a satisfaction survey after a program). Viewing assessment eﬀorts merely as a task or singular event can limit a unit’s ability to learn more from their assessment and create unnecessary work.
establishing an assessment plan that focuses on coordinated strategic assessment activities can more comprehensively tell the “story” of the department, and thus better illuminate the impact of programs and services on the student experience. Upcra and shuh (2001) provided student aﬀairs administrators with a guide to creating a comprehensive assessment approach. They identiﬁed eight data areas for professionals to consider when thinking about the assessment needs of departments and units. These areas include: • Tracking • needs Assessments • Satisfaction Assessment • Student Culture and Environment Assessment • Outcomes Assessment • Comparable Institution Assessment • national Standards Assessment • Cost Eﬀectiveness Assessment
These assessment areas provide a lens for practitioners to view their data needs. These areas also empower practitioners to examine programs and services from diﬀering perspectives when building an assessment program within their unit. Taken individually, each of these assessment approaches can provide a glimpse into a particular question, or set of questions, that units are looking to better understand. While any collection of these eﬀorts can inform and guide practice, they are also singular eﬀorts aimed at speciﬁc questions. The opportunities to learn more from data are unlocked only when practitioners see the power of integrating data sets. By integrating data, professionals can create a ninth assessment approach that is a sum greater than its individual parts. imagine gaining a better understanding of not just the learning that occurred in a leadership workshop and the student perception of campus climate, but the perception of campus climate from students who learned social justice principles from your leadership workshop. The power of integrating data to learn more about the impact of student involvement has a unique beneﬁt for campus activities oﬃces. over the past several years, campus activities oﬃces have begun adopting electronic student involvement management systems. These systems, either developed internally or purchased externally, provide student activities professionals more eﬃcient ways to record involvement in student clubs and organizations, as well as keeping record of the events and programs oﬀered by oﬃces and organizations. Campus activities professionals are able to more eﬃciently conduct operational assessment of their work. The operational assessment that involvement management systems provide allows campus activities oﬃces to quickly report on the results of their oﬃce’s programs and services. for example, campus activities administrators can report on the number of clubs and organizations oﬀered 64 Campus Activities ProgrammingTM Back to School 2011
on campus and the number of students who are involved in these organizations. This assessment approach can provide evidence of achievement or progress towards an operational outcome. Administrators have access to data to address outcomes, such as the percentage by which organization membership has risen in a given time period. While much of the focus of assessment has recently been on the development and measurement of learning outcomes, the need remains for campuses to provide evidence of operational outcomes, as well. establishing both operational and learning outcomes can provide a powerful framework to think strategically about the direction of a unit and create a foundation that practitioners can use in the development of programs and services. Campus activities practitioners can harness the outcomes and a comprehensive assessment plan to provide stronger evidence of the impact of their programs and services. integrating various assessment approaches and data opportunities might seem like a challenging task for even the most skilled assessment professional, but the tools available to campus activities administrators, such as involvement management platforms, can make comprehensive assessment more achievable. As Upcra and schuh (2001) stated, usage assessments allow campus professionals to have a better understanding of the population using speciﬁc programs and services. This also enables practitioners to see whether those participants fall within their target audience. With the use of involvement management platforms, campus activities administrators are able to integrate their operational data, creating opportunities to learn from data in a manner that few other units on campus can. Campus activities administrators who harness the power of these data integration opportunities can become assessment leaders on campus and can more proactively demonstrate the impact of student engagement. Learning Outcomes Assessment Assessing learning that occurs from programs and other involvement opportunities is not as simple as categorizing or tagging positions or organizations with a designated learning outcome domain. in addition, OUTCOMES attendance at a program or status as an elected leader within a student Learning outcomes organization does not automatically statements indicate what a equate to the achievement of a desparticipant (usually students) ignated learning outcome for a prowill know, think, or be able gram or position. involvement manto do as a result of an event, agement platforms, such as Colleactivity, program, etc. giatelink, allow campuses to create Operational outcomes and manage involvement opportuexamine what a program or nities and relate those opportunities process is to do, achieve or to designated learning outcomes accomplish for its own areas. These outcome tools play an improvement. important operational role in pro-
viding the number of involvement COLLEGIATELInK opportunities that a unit is providing around a learning outcome is an involvement management platform used area. by more than 130 campuses having this operational data conacross the United States and nected to learning outcomes within Canada. For more involvement management systems information, visit also provides a unique assessment www.collegiatelink.net. opportunity. Paneling students who have participated in an involvement opportunity connected to a learning outcome can allow a campus activities oﬃce to assess these students in intervals during the academic year, and thus better understand if these students have achieved these outcomes and applied the knowledge gained. This type of approach can turn simple operational recordkeeping into concrete evidence of student learning. rather than simply tracking those activities that contribute to learning, practitioners can provide proof of learning for a speciﬁc activity. Outcomes Mapping A campus activities oﬃce that is tracking the number of involvement opportunities connected to learning outcomes can further maximize their assessment practice by using outcomes mapping. An outcomes map provides a tool for units to document the level at which their programs and services contribute to a set of learning outcomes domain areas. These maps provide a comprehensive view of where students are introduced to topics and how they are able to advance their learning in an intentional series of connected programs and services. oen used by academic units during program review or accreditation, these maps also improve planning processes. outcomes mapping is increasingly becoming a valuable tool for units, helping them to both “tell their story” and show the contribution of their activities to student learning. By better tracking the operational data, campus activities oﬃces are in a unique position to lead this eﬀort in the division of student aﬀairs.
having an institutional record of a student’s involvement professionals can create a panel of students based oﬀ of a set of determined criteria. Using this panel, campus activities can conduct targeted assessments based oﬀ of participation. for example, campus activities could sample all those who have been a student organization president to further examine the impact of these positions or to help understand what leadership skills were developed through this experience. Panels of students also oﬀer the opportunity for campus activities professionals to examine data sets in more depth by ﬁltering results based on aspects of participants within the panel. The beneﬁt allows campus activities administrators to learn more from the data they are collecting. Qualitative data Sources Comprehensive assessment eﬀorts require both qualitative and quantitative data to gather a deeper understanding of the impact of student involvement. Campus activities oﬃces that use involvement management platforms may also have the opportunity to capture qualitative data from student reﬂections on their involvement experiences. These rich data sets can be analyzed to uncover emerging themes, oﬀering a richer description of the student experience as a result of involvement on campus. This type of assessment comes from the system’s ability to document campus involvement and present students with a reﬂective opportunity to keep a record of their experiences. Qualitative data can be used for campus activities professionals to gain a deeper insight in the experiences of students involved in programs and services oﬀered.
Changing student involvement management platforms from operational collectors of data into opportunities for advanced assessment should be a priority for campus activities administrators.
data Integration The term “data integration” may cause some to think about an advanced level of assessment practice and, as such, may be seen as a barrier for campus activities administrators. in reality, data integration can be simple or complex. how can data be integrated in a manner that does not require advanced understanding of mathematics? Again, one can look to the operational data of the involvement management platform for a possible opportunity.
Use Features to Create an Assessment Advantage Changing student involvement management platforms from operational collectors of data into opportunities for advanced assessment should be a priority for campus activities administrators. settling only on functionality that appeals solely to student adoption, or makes administrative processes electronic, cannot be the sole criteria for these potentially powerful tools. Campus activities administrators should examine how operational data features can unlock opportunities for their units to better “tell the story” of their work and provide evidence of the impact of student involvement. By taking this approach, the professionals in campus activities can lead their division in harnessing the power of operational data, turning it into the opportunity for comprehensive assessment eﬀorts.
Reference schuh, J.h., Upcra, M.l., & Associates. (2001). Assessment practice in student aﬀairs: An applications manual. san francisco: Jossey-Bass. About the Author John d. white is associate vice president of Assessment Programs at StudentVoice (nY). he has worked in university housing for the University of
georgia, as an area coordinator for virginia Tech and as a hall director for northern Arizona University. he holds a doctorate in student aﬀairs administration, as well as a master’s degree, from the University of georgia, and a bachelor’s degree in political science from the University of Tennessee-knoxville. he has been published in the georgia College Personnel Association’s Georgia Journal of College Student Aﬀairs, as well as in the Journal of Student Conduct Administration.
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A Three-Tiered Approach to Leadership Development: Putting Theory into Practice By
Henry C. Parkinson III, EdD Fitchburg State University (MA)
here is A greAT neeD for leADershiP DeveloPMenT ProgrAMs and i believe it is the responsibility of higher education to prepare such leaders. That is why i have devoted most of my career to this topic by creating a three-, soon to be four-, tiered model for leadership development. in this article, i would like to explore: a. the need for leadership development, b. components of eďŹ€ective leadership programs, c. theory, and d. a comprehensive three-tiered approach to leadership development.
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why Are Leadership development Programs Important? The literature clearly identiﬁes the growing importance of this topic. According to komives, lucas and McMahon (1998), leadership is a concern for all of us, and “we have a responsibility to contribute as members of organizations and local communities” (p. 4). komives et al. also believed that “leaders need to take civic responsibility by accomplishing something or changing something that is purposeful and intentional” (p. 14). in addition to becoming civilly responsible, Burns (1995) believes that “the need for competent leaders in an increasingly complex world is selfevident” (p. 242). Burns also stated that “producing such leaders for society has been the traditional role of higher education” (p. 242). in fact, the last few years have seen an increasing interest in leadership development. This has come about because of the rapid change in business, technology, global communication and human values (Cacioppe, 1998). Components of Eﬀective Leadership Programs Before anyone develops a leadership program, it is important that they understand the importance of such a program and explore what components make an eﬀective leadership program. According to zimmerman-oster and Burkhardt (2000), a strong leadership program includes: a. a connection between the mission of the institution and the mission of the leadership development program, b. support from across the institution, c. an academic home above and beyond the departmental level, and d. strong leadership for the program. in addition to strong characteristics, zimmerman-oster and Burkhardt (2000) identiﬁed common practices that are found in eﬀective leadership development programs. some of them are self-assessment, problem-solving, service-learning, outdoor activities, mentoring and student recognition. successful leadership programs oﬀer self-assessment through workshops, retreats, and training sessions that provide an opportunity to build selfawareness by administering assessment tests, holding discussions and allowing students to reﬂect on what they are doing. Along with selfassessment, leadership trainers spend time on developing problem-solving skills by oﬀering skill-based training. Buckner and Williams (1995) discovered that eﬀective leadership programs emerged when “students were almost always involved in the planning of the programs, retreats were oﬀered, and when experience-based learning took place” (p. 4). roberts and Ullom (1989) supported Buckner and Williams and continued to say that “a broad range of faculty, student aﬀairs staﬀ, and students should be involved in planning leadership programs” (p. 69). Three-Tiered Approach to Leadership development Parkinson’s (2003) student-run, three-tiered leadership development program introduces leadership training in three levels, each level building on the previous one. The levels include speciﬁc skills and competencies that are theory based and delivered through several methods. Tier 1 Overview Emerge emerge, the ﬁrst tier, is about leading yourself. it is my belief, along with that of many theorists, that you cannot be a leader without leading yourself ﬁrst. it is important to know who you are, how you lead, and what your strengths and challenges are before leading others. The emerge level is designed to provide the opportunity to go through self-exploration by completing self-assessment and self-understanding exercises. skills and competencies that are taught in the emerge level include: • self-Assessment • Personality styles • leadership styles • Basic Communication • Teamwork
Theory each level and its programs are enriched in theory and the entire Parkinson leadership program is based on the social Change Model. The social Change Model of leadership development, which was developed by the higher education research institute (1996) at the University of California-los Angeles, is one example of how students can become more civilly responsible by participating in leadership development programs. The goals of this model are to enhance student learning and development and to increase self-knowledge and leadership competence. The model looks at leadership development in three perspectives: • first, the individual—What are the personal qualities that need to be developed? • second, the group—how can the collaborative leadership development process be designed to facilitate development? • finally, the community and society—Toward what social ends is the leadership development activity directed? from these three perspectives, the higher education research institute (1996) developed a model that is made of the seven Cs of leadership development for social change. The emerge level explores consciousness of self, congruence and commitment, which are the ﬁrst three C’s in the social Change Model and all focus on the individual. in addition to the social Change Model, the emerge level references emotionally intelligent leadership by focusing on consciousness of self: honest self-understanding. finally, the Myers-Briggs personality assessment and Covey’s 7 highly eﬀective habits are explored within this level. Programs several programs have been developed to teach the skills and competencies listed above. one is a six-week institute and a second is the emerge retreat. The emerge retreat is a two-night, three-day retreat designed for self-exploration and empowerment. These and other programs will be highlighted in a future manuscript. Tier 2 Overview develop Develop, the second tier, is about leading others. once you are comfortable with yourself, it is time to learn how to work with other leaders who have diﬀerent personalities, views and styles. skills and competencies that are taught in the Develop level include: • Time Management • Critical and Creative Thinking • Understanding others • Building Trust • Coaching/Mentoring/negotiating • Advance Communication and Teamwork Theory The social Change Model also supports this level by exploring collaboration, common purpose and controversy with civility, which are the next three C’s within the social Change Model. As for emotionally intelligent leadership, students would explore Consciousness to others. Additional theories include situational leadership, transactional leadership, and 7 highly eﬀective habits. Programs There have been programs developed speciﬁcally for this level. The ﬁrst is a six-week institute and the second is a program call Bridges. Bridges is a four-night service-learning/leadership program. Again, these programs will be further explored in a future manuscript.
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Tier 3 Overview Advance This level is about leading to change. The program goal is to provide students with the skill sets to create positive change wherever they end up— to increase their civic responsibility. in addition, this level focuses on teaching advance leadership skills and, as Covey puts it, “sharpening the saw.” skills and competencies that are taught the Advance level include: • group Development • ethical and Moral Development • Decision-Making and Problem-solving • Conﬂict resolution • Motivation and Accountability • Delegation and empowerment Theory This level incorporates the social Change Model’s ﬁnal C, which is citizenship and ultimately ChAnge! The hope is that, over time, students learn all the skills and competencies they need to become an active citizen and create positive change through their leadership. The Parkinson model continues using emotionally intelligent leadership’s Consciousness of Context, which entails challenging leaders to be aware of their environment. other theories include Tuckman’s group Development, transformational leadership, and 7 highly eﬀective habits. Programs There have been several programs developed for this level, including a six-week leadership institute and an advanced leader retreat, which are run by peers. The Advance level, as well as the entire leadership program, are run by, as stated in the literature, advanced student leaders on campus. The most important aspect of this program is that it is run by students. it has
two important leadership teams. The ﬁrst is the leadership Council, a team of students selected and charged to create and implement everything outlined in this article. The second is the lead Team, a group of advanced leaders pulled together to plan and implement the emerge retreat. Approaching things this way serves two purposes. it provides an opportunity for students to put skills into practice, which is the main purpose of the Advance level. second, because students are better at recruiting students than administrators, it provides an opportunity for students to recruit their peers and acquire truly engaged group members. it is important to get students engaged in your leadership program at the ground level, which is the foundation behind the Parkinson program. Going Forward Currently at fitchburg state University (MA), a group of students and i are working on a fourth tier. This is called Change, which will incorporate learning from Greater Than Yourself (gTY), written by steve farber. The basic premise of gTY is to pay it forward. The idea behind the fourth tier is to move students into this level and charge them to take on a gTY project. The ultimate goal is for students to put all their leadership skills into practice while creating positive change in the community, which is also a primary goal of this entire leadership program. leadership is a process. it takes time and practice to learn the skills involved. Parkinson’s model is designed to teach students these skills through experienced-based learning and to put those skills into practice. The ultimate goal is to develop civilly engaged leaders who will create change through the successful implementation of this model.
References Buckner, k.J., & Williams, l M. (1995, november). Reconceptualizing university student leadership development programs: Applying the competing values model. Paper presented at the annual meeting of the speech Communication Association, san Antonio, Tx. Burns, B.s. (1995). leadership studies: A new partnership between academic departments and student aﬀairs. NASPA Journal, 32, 242-250. Cacioppe, r. (1998). An integrated model and approach for the design of eﬀective leadership development programs. Leadership and Organization Development Journal, 19(1), 44-53. higher education research institute. (1996). A social change model of leadership development. los Angeles: University of California. komives, r.s., lucas, n., & McMahon, r.T. (1998). Exploring leadership: For college students who want to make a diﬀerence. san francisco: Jossey-Bass. Myers, i.B., & Myers, P.B. (1980). Gis diﬀering: Understanding personality type. Mountain view, CA: Davies-Black. Parkinson, h.C. (2004). Determining the eﬀectiveness of the emerging leader leadership programs oﬀered by Bryant College. Unpublished manuscript, nova southeastern University, fort lauderdale, fl. roberts, D., & Ullom, C. (1989). student leadership program model. NASPA Journal, 27, 67-74. shankman, M.l., & Allen, s.J. (2008). Emotionally intelligent leadership: A guide for college students. Jossey-Bass, CA. zimmerman-oster, k., & Burkhardt, J.C. (2000). Leadership in the making: Impact and insights from leadership development programs in U.S. colleges and universities. Battle Creek, Mi: W. k. kellogg foundation. (eriC Document reproduction service no. eD446577)
About the Author Henry C. Parkinson III, Edd, is director of student Development at Fitchburg State University (MA). he previously served as assistant director of the oﬃce of student Activities and as a resident director in the oﬃce of resident life, both at Bryant University (ri). Active in nACA, he is currently serving as the national volunteer Development Coordinator. During his nACA involvement, he has served in national and regional roles, including serving on the CAMP staﬀ, on the educational sessions selection Committee, and as special events Coordinator, among others. he is also aﬃliated with the national Association of student Personnel Administrators (nAsPA) and the American College Personnel Association (ACPA). he holds a bachelor’s degree in management from Quinnipiac University (CT), a master’s degree in teaching from sacred heart University (CT) and a doctorate in higher education and leadership from nova southeastern University (fl). follow him on Twitter: @hankparkinson.
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NACA Foundation Scholarship Deadlines
The nACA foundation oďŹ€ers numerous scholarships that are available to graduate students, undergraduate student leaders and associate members on an annual basis. Barry Drake Professional Development scholarship (Deadline: Aug. 1)
scholarships for student leaders (Deadline: Nov. 1)
east Coast Associate Member Professional Development scholarship (Deadline: Aug. 1)
zagunis student leader scholarship (Deadline: Nov. 1)
Markley scholarship (Deadline: Sept. 1)
nACA scholarship to ACPA Mid-level Management institute (Deadline: Nov. 3)
ross fahey scholarships (Deadline: Oct. 1) A complete list of scholarships and deadlines is available at www.naca.org/Scholarships/Pages/ScholarshipListings.aspx. for more information, contact Paige JeďŹ€coat at email@example.com.
Back to School 2011 Campus Activities ProgrammingTM 69
Challenges and Lessons Learned The University of Louisville’s Red Barn Thrives throughout Four Decades
70 Campus Activities ProgrammingTM Back to School 2011
Julie Onnembo, Dave Shaw, George Howe and Tim Moore University of Louisville (KY)
uring its more than 40-year history, the Red Barn at the University of Louisville (KY) has evolved from a repurposed warehouse into a vital and continuing component of the student activities program at the school, complementing the services and programs provided by the Student Activities Center and Student Activities staﬀ. As such, it continues to be a hub of student-generated programs at the University of Louisville. For a history of the Red Barn’s growth and place in activities programming at the University of Louisville, visit http://www.naca.org/MediaCenter/ Pages/CampusActivities ProgrammingMagazine.aspx to see the account prepared by Julie Onnembo, Dave Shaw, George Howe and Tim Moore, along with a number of photos from Red Barn events. Here, the authors share answers to questions about challenges, successes and lessons learned during the Red Barn’s historic four-plus decades.
The exterior of the historic George J. Howe Red Barn at the University of Louisville (KY)
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What are some of the challenges that come with converting a space not originally designed for entertainment into a successful venue? • Studentandstaﬀsupportandavisionofwhatthevenuecanbecome.In thecaseofthebeginningoftheRedBarn,LouisBornwasserandseveral otherstudents,includingMikeGeraldsandRobertMcGeachin,hada vision that was supported with human and ﬁnancial support of Dr. WoodrowM.Strickler,President,andtheDeanofStudentsOﬃcestaﬀ thatincludedGarySteedlyandHaroldAdams.Thiscollaborativeeﬀort between students and staﬀ included Louis Bornwasser and President StricklerﬂyingtoAtlanta,GA,tomeetwiththeregionalrepresentatives of Urban Renewal to save the Red Barn. Dr. Strickler had two letters fromKentucky’stwoUSSenatorsinsupportofsavingtheRedBarn. ThistripoccurredshortlyaertheﬁrsteventintheRedBarnin1969. • Staﬀsupportisverynecessaryintheconversionofspacenotoriginally designed for entertainment. In the case of the Red Barn, I [George Howe]knewuponmyarrivalonJuly1,1970,thattheRedBarnwasa veryspecialplaceand,withthehelpofmanystudents,staﬀ,faculty andalumni,ourfocuswastomaketheRedBarnthecenterforStudent Activities.OnebigadvantagetothiseﬀortisthatUofLdidnothavea Student Activities Center except the Red Barn until the opening of theStudentActivitiesCenter(SAC)in1990.
Game-watch events at the Red Barn, which allow students and alumni to see basketball and football games, are popular events at the facility.
What lessons could you share with others who might be considering such a conversion on your campus? • Patience. • Collaborativesupportofstudents,staﬀ,faculty,alumniandotherinterestedparties. • Having at least one person who can focus their time and energy on suchanongoingproject. • Keeparecordofaccomplishmentsandprogramspresented. • Keeparecordofthestudentswhohavebeenapartofthisprojectand keepintouchwiththem.Wehavekeptintouchwithagreatmany studentsthoughtheRedBarnAlumniAssociationthatwasestablished in1985andthroughtheRedBarnandStudentAﬀairs,aswell. • We,meaningtheStudentAﬀairsDivision,havesolicitedhumanand ﬁnancialhelpthathasresultedintheestablishmentofsixendowments thatareapartof11programsthroughStudentAﬀairsandtheRed Barn since 1985 to beneﬁt U of L students. These great many gis received include a $75,000 gi in 2010 from Louise and Louis Bornwasser to establish the Louis W. and Louise Weisser Student EmergencyFundEndowment. 72 Campus Activities ProgrammingTM Back to School 2011
What have been the most successful aspects of using the Red Barn as an entertainment space? • Originalconcreteﬂoorwithnoﬁxedseats. • In-housesoundreinforcementandstagelightingsystems. • Largestagewithcurtains. • Withaseatingcapacityof200,theRedBarnisanintimatevenuefor livemusicsuchastheWPFK(PublicRadio)LiveLunchConcerts,as well as many other forms of entertainment, including watching basketballandfootballgamesandthepast25SAB(StudentActivities Board)andRBAA(RedBarnAlumniAssociation)CrawﬁshBoils. • Withoutseating,theRedBarnhashostedawidevarietyofevents,includingswingdancing,theSABHomecomingFoamPartyandNPHC (NationalPan-HellenicCouncil,Inc.)Partiessponsoredbyoureight predominantlyAfricanAmericanSororitiesandFraternities.
What have been the drawbacks of using the Red Barn as an entertainment space, and how did your staﬀ overcome them? • Thepopularityofcertaineventsthathadoriginallybeenheldatthe Red Barn have resulted in our moving some of them, such as the LGBTCommonGround“Pink”DragShow,totheSACMultipurpose RoombecauseofthelimitedsizeoftheRedBarn. • BeforewehadtheSAC(1970until1990),wewouldveryoenbook the same live entertainment acts on Friday and Saturday evenings, givingmorestudentsandpatronsanopportunitytoattend.
Is there anything related to operating the space that you might do diﬀerently if you had to do it again? • ItisimportanttohavestaﬀpresenceintheRedBarn,whichwedid nothavefromthetimetheSACopenedin1990untilI[Howe]moved backtotheRedBarnin1998.
Over the years, what have students/staﬀ/community audiences liked best about the facility? • ThefactthattheRedBarnwaspartofUofL. • Spiritofcommunity. • Diverseentertainment. • Knowing that the money generated by and through the Red Barn wouldbeneﬁtUofLstudentsthroughStudentAﬀairs. • ThefactthatRedBarnhasalwaysbeenastudentbuildingintermsof usageandprograms.Studentshavebeenanintegralpartoftheoperation andprogramsoftheRedBarnsinceitsstart42yearsago. • Patronsenjoytherelaxedatmosphere. • The42-yeartraditionoftheRedBarncontinuesasAlumniandfriends return for such events as RBAA tailgate parties, game-watches for men’s basketball and football games, the annual SAB and RBAA Crawﬁsh Boils, the annual RBAA Red Barn Birthday Party and the annualRBAARedBarnReunionConcert.Thesepeoplecontinueto enjoytheRedBarnastheyrememberallthegoodtimestheyhadat theRedBarnwhentheywereyounger. • AnimportanttributetothesolidreputationoftheRedBarnarethe seven WFPK Live Lunch Concerts in 2009-2011 that have been broadcastliveonWFPKPublicRadio.Patronsarebothstudentsand guests,manyofwhomarelistenersofWFPKRadio.Sponsoredbythe SABwithﬁnancialsupportoftheRBAA,theeventsgiveparticipants afreelunchandaone-hourconcertofoutstandingliveartistswhose musicisplayedonWFPK.
What kinds of attractions are best suited to the space you have at the Red Barn? • ArtistsverymuchliketheintimacyoftheRedBarn,whichisactually notthatlarge.TheaforementionedartistsfeaturedontheWFPKLive Lunchconcertsareusuallyartistswhoaretravelingandwelcomethe airplayoftheirmusiconWFPK,aswellastheopportunitytoplayat the Red Barn as part of a live broadcast. These artists are usually playingavenueintheareaaertheirappearanceattheRedBarn.
Have you had to make any unusual accommodations for any particular kinds of entertainment? • WecovertheentireconcreteﬂooroftheRedBarnwith100rubber matsfortheAnnualSABHomecomingFoamParty. • Wewererequiredtobuildafour-.-highbarricadebetweenthestage andtheaudiencetoprotectallconcernedfortheBeatFarmers,who appearedattheRedBarnontwoseparateoccasions. • We had to draw extra electric power when the Red Barn was the locationforFriday Night Live at the Kentucky Derby,alivenationally televisedprogramonABCthatincludedaconcertbyDanFogelberg, wherehedebuted“RunfortheRoses”onMay2,1980.
George J. Howe, director of Special Projects and Development, formerly director of Red Barn Programs and the building’s namesake
Authors’ Note: To all the persons who have contributed to the history and success of the Red Barn, as well as to this article and the historical article and photos that appear online (at http://www.naca.org/MediaCenter/Pages/CampusActivities ProgrammingMagazine.aspx), we appreciate and thank you very much for your time and eﬀort.
About the Authors Julie Onnembo istheAssistantDirectorofStudent InvolvementattheUniversity of Louisville (KY).A NewJerseynative,sheearnedabachelor'sdegreein literature/languagefromtheRichardStocktonCollege of New Jersey, where she later served as assistant directorofCampusActivitiesandsupervisedevening and weekend programming. In 1992, she moved to Kentucky,wheresheearnedamaster’sdegreeineducation and counseling psychology from the University of Louisville. In 1994,shebecametheUniversityofLouisville'sﬁrstcoordinatorforSpecial Projects,apositionshehelduntil1998,whenshewaspromotedtoassistant director for Leadership and Programs. She has been nominated by her students for the Provost’s Advising Award for Exemplary Advising and wasarecipientoftheLGBTAllyAwardandtheIntramuralSportsService Award.ShecontinuestobeamemberofNACA,theNationalAssociation ofStudentPersonnelAdministrators(NASPA),theAmericanCollegePersonnelAssociation(ACPA)andtheSigmaSigmaSigmaSorority. George J. Howe isdirectorofSpecialProjectsand DevelopmentandformerlydirectorofRedBarnProgramsattheUniversity of Louisville.TheRedBarn was renamed the George J. Howe Red Barn in his honoronDec.7,2007.Hebecametheﬁrstdirector of Student Activities at the school in 1970 and also served as director of the Student Activities Center. ActiveinNACAovertheyears,heisarecipientofthe Association’sPatsyMorleyOutstandingProgrammerAward.Inaddition, the University of Louisville has presented him with two Outstanding PerformanceAwards.Heholdsabachelor’sdegreeinhistoryfromMuskingumCollege(OH)andamaster’sdegreeinsecondaryeducationfrom WestVirginiaUniversity.
Dave Shaw is assistant director of Facilities at the University of Louisville. Active in NACA and in
the Association of College Unions International, he was named to NACA’s former Great Lakes Region HallofFamein2000.AUSAirForceveteran,heis alsoactiveinthecommunity,havingservedaspresident of Clark County Habitat for Humanity. He holds a bachelor’s degree in mass communications/public communication,withaminorinﬁlm,fromWesternIllinoisUniversity andamaster’sdegreeincollegestudentpersonnelfromEasternIllinois University. Tim Moore isdirectorofStudentActivitiesandthe Student Activities Center at the University of Louisville.Throughouthiscareer,hehasworkedin
student activities at Southern Methodist University (TX), Dartmouth College (NH), the University of Nebraska-Lincoln,IdahoStateUniversityandSouthwest StateUniversity(MN).ActiveinNACA,hehaspresentededucationalsessionsontheregionalandnational levelsandhasheldanumberofleadershippositions.Inaddition,hehas publishedarticlesinCampus Activities Programming™onabroadrange oftopics.Heholdsabachelor’sdegreefromtheUniversityofRichmond (VA)andamaster’sdegreefromWesternIllinoisUniversity.
Editor’s Note: Do you have an exciting, unusual or historic programming venue on your campus that deserves special attention? If so, contact Campus Activities Programming™ Editor Glenn Farr at firstname.lastname@example.org about developing your story for inclusion in this magazine and on the NACA website.
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NACA® SPOTLIGHT ®
NACA Foundation Succeeds with National Convention Fundraising Events NACA® Foundation Bowling Tournament
TheNACA® Foundation’s ﬁrst-everbowling tournament,heldFriday,Feb.18,2011,aspartofthe2011NACA® NationalConventionin St.Louis,MO,raised$2,145.Infact,theeventwassosuccessfulandpopular,itmaywellsoonbecomeaNationalConventiontradition.TheFoundation will hold its Second Annual NACA Foundation Bowling Tournament atthe2012NationalConventioninCharlotte,NC.So,keep checkingtheNACAwebsiteformoreinformationonhowtoregisterand becomeasponsorofthispopularnewevent. CongratulationstoNACA® FoundationBowlingTournamentChampions, The Little Lebowski Urban Achievers, as well as individual bowlerswiththehighestscoresformaleandfemaleparticipants, Coz Lindsay ofThe College Agency (MN) andKim Bruemmer fromNorth Dakota State University,respectively.
Foundation Silent Auction The 2011 edition of the NACA® Foundation’s long-running Silent Auction brought in $1,110. Beginning early in the week of the NACA® National Convention, delegates engaged in bidding wars for autographed ConventionshirtsbyHanson,JoshGracin,B.J.Novak,NickCannon and RossMathews,aswellasforanautographedfootballbytheentireTuohy family,includingMichaelOher. TheFoundationisgratefultoeachschoolandcompanythatdonated items,aswellasforthecompetitivespiritofallbidders!
Delegates line up to place bids on desired items during the NACA® Foundation’s Silent Auction, held during the 2011 NACA® National Convention.
The Little Lebowski Urban Achievers were the NACA® Foundation Bowling Tournament Champions. Team members, le to right, are: Craig Heitkamp, The College Agency (MN); Coz Lindsay, The College Agency; Paul Wraalstad, Concordia College (MN); Judson Laipply, The College Agency; and Danny Mackey, Neon Entertainment (NY).
Coz Lindsay (le) of The College Agency (MN) and Kim Bruemmer of North Dakota State University were the highest male and female individual scorers in the NACA® Foundation Bowling Tournament.
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Silent Auction items, including school sweatshirts, were on display in the Campus Activities Marketplace.
Online Auction As a new initiative, NACA teamed up with BiddingforGood.com®, an online auction service aimed at helping raise money for charitable causes. Through this eﬀort, the NACA® Foundation was able to oﬀer a variety of items for bidding—vacations, concert tickets, gift certiﬁcates and more. The Foundation also auctioned oﬀ entertainment services from for NACA associate members for schools to bid on at prices that were signiﬁcantly lower than regular booking prices.
NACA® SPOTLIGHT Upcoming NACA® Foundation Scholarship Deadlines The NACA® Foundation oﬀers numerous scholarships that are availabletograduatestudents,undergraduatestudentleadersandassociate membersonanannualbasis.Scholarshipnominationsaresolicitedeach year.Upcomingscholarshipsanddeadlinesinclude: • • • • • •
Markley Scholarship—Sept. 1 Ross-Fahey Scholarships—Oct. 1 Scholarships for Student Leaders—Nov. 1 Zagunis Student Leader Scholarships—Nov. 1 Tese Caldarelli Memorial Scholarship—Nov. 1 NACA Scholarship to ACPA Mid-Level Management Institute—Nov. 3
Acompletelistingofscholarshipsandcriteriacanbefoundonlineat: http://www.naca.org/Scholarships/Pages/ScholarshipListings. aspx.
Foundation’s 30th Anniversary Pledge The 30th Anniversary ofthe NACA® Foundation isrightaround thecorner,soNACAmembersarebeingencouragedtopledgetodonate $30 during 2011–2012. Donors have the option of giving the entire amountupfront,orpledgetodonateoverthecourseoftheyear—NACA will send you reminders! You can even make a pledge in the name of someone you’d like to honor (which is a great way for program board memberstothanktheiradviser!).The30thAnniversarycampaignhad itskick-oﬀatthe2011NationalConvention,andthefollowingdonors areoﬃciallyapartofthe“30for30Club!” • • • • • • • • • • • • • • • • •
Dan Ashlock Melissa Beer Josh Brandfon Kim Bruemmer Linda Fogg Chris Gill Jason Heiserman Regina Young Hyatt Maryville University CAB Barry McKinney Jeanie Morgan John Robinson Chuck Simpson William Smedick Gayle Spencer Jodi Solomon Steve Westbrook
Foradditionalinformation,contact Paige Jeﬀcoat email@example.com.
NACA® Chair Video Update NACA® Chair of the Board of Directors Brian Wooten is posting monthly video blogs designed to give NACA members essential information about the Association. See and hear his comments at: http://thenaca.tumblr.com.
NACA Family Feels Impact of Tornadoes DevastatingtornadoeshittingtheMidwestinrecentweeks,along withapreviousrashofdeadlystormsintheSouth,havelemany membersoftheNACAfamilyandtheirlovedonesinneed. In an eﬀort to share information, NACA has set up a resource pageonitswebsitetohelpthoseinstitutionsdirectlyimpactedby thestorms,aswellastheircommunities. All members of the NACA community are encouraged to contributeinanywaytheycantosupportthisorotherreliefeﬀorts. Visittheresourcepageat:http://naca.ws/luUi0R.
Wanttobeapartofthe“30for30Club?”Getstartedbyseeingallthe diﬀerentwaysyoucancontributeat:http://www.naca.org/Scholarships/ Pages/Donate.aspx. Also, “30 for 30” cards will be available at each 2011–2012RegionalConferenceandthe2012NationalConvention.
Not only did the online auction raise $2,633 for the Foundation, it helped schools save money on great entertainment acts for their campuses and established new business relationships between associates and schools. The Foundation is grateful to Biddingfor Good.com®, associate members who donated acts and services, and all who placed bids on available items.
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Campus News Waltrip Takes New Position Beth Waltrip is moving to the University of Akron (OH).Hernewpositionandcontactinfor-
Pruitt Receives S. Goodnight Award
mationare: AssistantDirector,StudentUnionOperations DepartmentofStudentLife TheUniversityofAkron Akron,OH44325-4601 Phone:330-972-7935
Past NACA Board Chair Dennis Pruitt, vice presidentforStudentAﬀairs,viceprovostanddean ofstudentsatthe University of South Carolina, was presented the Scott Goodnight Award for Outstanding Service as a Dean at the 2011 NASPAAnnualConference.PruittservedasChair oftheNACA® BoardofDirectorsin1981–82.
Calovine Takes Position at Babson
Camputaro Moving to Virginia
Jaclyn Calovine, a current volunteer on the NACA® Northeast RCPC,recentlygraduatedwith
EﬀectiveJuly11,2011,Justin Camputaro,apast leader in the NACA® South Region, will become directorofStudentCenterandActivitiesatVirginia Polytechnic Institute and State University.
amaster’sdegreeinhighereducationandstudent aﬀairsfromtheUniversityofConnecticutandhas becomeareadirectoratBabson College (MA).
Metzger Joins American University (DC)
Doan Joins Bentley University
Michael Metzger,whorecentlyearnedamaster’s degreeinhighereducationandstudentaﬀairsfrom theUniversityofConnecticut,hasjoinedAmerican University as assistant director for New Student Programs. While a graduate student, he wrote severalarticlesforCampus Activities Programming™.
Jimmy Doan, an NACA® Leadership Fellow for
2010-11, completed his master's degree in higher educationandstudentaﬀairsadministrationatthe UniversityofVermontinMayandhasbecomeprogramcoordinatorinStudentActivitiesatBentley University (MA).
Stern Featured in NY Times Interview
Pariano Promoted at Denison
Caryl M. Stern,apastChairofthe NACA Board of Directors,wasfeaturedinarecent New York Times interview,inwhichshediscussedhowher
Natalie Keller Pariano, previously the associate directorofStudentActivitiesatDenison University (OH), was recently named director of Campus
backgroundintheatrehelpeddevelopherleadership skills.Sheiscurrentlypresidentandchiefexecutive oftheUSFundforUNICEF.SheservedasChair oftheNACABoardofDirectorsin1987–88.Theinterviewisavailable at:http://www.nytimes.com/2011/04/24/business/24corner.html?_r=1&emc=eta1.
Leadership&Involvement.Parianoisanactivevolunteer with NACA (NACA® Mid America, the NationalConventionandHugeLeadershipWeekend),andisarecipientoftheC.ShawSmithOutstandingNewProfessional AwardandtheOutstandingServicetoNACA® MidAmericaCitation.
Arminio Honored for Academic Excellence
Randolph Joins Washington University
Longtime NACA member and volunteer Jan Arminio was presented the Robert H. Schaﬀer Award for Academic Excellence as a Graduate Faculty Member duringtherecentNASPAAnnual
Conference.SheisprofessorandchairoftheDepartmentofCounselingandCollegeStudentPersonnelatShippensburg University (PA).ArminiohasservedtheAssociation in various volunteer roles, most recently serving on the NACA EducationalAdvisoryGroup.SheisalsoapastrecipientoftheNACA FoundersAward,thehighestawardgivenbyNACA.
76 Campus Activities ProgrammingTM Back to School 2011
BoardofDirectorsin2009–11,recentlygraduated from Western Illinois University with a master's degreeincollegestudentpersonnelandhasbecome programcoordinatorat Washington University in St. Louis (MO) at the Skandalaris Center for EntrepreneurialStudies.AcceptingthepositiontakesRandolphbackto herhometown.
NACA® SPOTLIGHT Young Promoted at Pace
CALL FOR ARTICLES
Ryan D. Young,formerlyassistantdirectorofStudent Development & Campus Activities at Pace University (NY), has been promoted to associate
Zemke Promoted at Valparaiso Angela Zemke hasbeennamedthenewassistant director of the Harre Union at Valparaiso University (IN).ShepreviouslyservedasassistantdirectorofStudentActivitiesandVolunteerPrograms attheschool.
Moriarity to Lead Towson Chamber Debra Moriarty,vicepresidentofStudentAﬀairs at Towson University (MD),isthenewpresident
Interested in Writing for NACA’s Campus Activities Programming™ Magazine? Doyouhaveexpertiseinaparticulartopicrelatedtotheﬁeld? Areyouinterestedintakingonwritingassignmentsthatwill helpyoulearnmoreaboutatopicthatpiquesyourinterest? Then,it’stimetobecomepublishedinCampus Activities Programming™. Remainingavailabletopicsforthe2011–2012publication cycleinclude: •Alternative C A M P U S A C T I V I T I E S Programming •Diversity •Community Colleges/Community ORGANIZATION RETREATS: Should You Hold Them? Involvement Developing Your Vision and Mission •Assessment Student Committee Makeover VisittheNACAwebsite Being an Authentic Leader Creating an Alternative orcontactEditorGlenn Break Program Farratglennf@naca.orgfor moreinformation.
APRIL 2011 Vol. 43, No. 8
of the Towson Chamber of Commerce. Moriarty served on the NACA ® Board of Directors in 1987–90. For more information, visit: http://www.baltimoresun.com/explore/baltimorecounty/news/ph-tt-new-chamber-prez-0622-20110616,0,5116056.story.
Gill Takes New Position Chris Gill,ViceChairforProgramsontheNACA®
Board of Directors for 2011-12, has taken a new positionasDeanofStudentsatCulver-Stockton College (MO).
Coming in the September 2011 issue of Campus Activities ProgrammingTM ...
BUDGETING, GRANT WRITING and DOING MORE with LESS...
SHARE YOUR GOOD NEWS! Share what’s going on with you professionally and personally in the Campus News section of the NACA website, as well as in the NACA Spotlight in Campus Activities Programming™ magazine. This feature is designed for students and staﬀ to inform others about what’s going on in their lives. It’s an easy way to announce a: • New job or promotion • Marriage or civil union • Birth or adoption of a child • Graduation • Award or other recognition • Thank-you to other members • And much more Visit http://www.naca.org/Education/ Pages/CampusNews.aspx to submit information, or e-mail it to Glenn Farr, editor of Campus Activities Programming™, at firstname.lastname@example.org.
Back to School 2011 Campus Activities ProgrammingTM 77
Register for STARS®
Block Booking All-Year-Round
TheSustainability Tracking, Assessment & Rating System (STARS®) isatransparent,self-reportingframe-
Free Webinar for NACA Members (School Staﬀ and Students)
work for colleges and universities to gauge relative progresstowardsustainability.STARS® wasdeveloped by AASHE (Association for the Advancement of Sustainability in Higher Education) withbroadparticipationfromthehighereducationcommunity.NACA is a Founding Partner in the program.
An NACA webinar, Block Booking All-Year Round, originally presented Sept. 28, 2010, is available for viewing at your leisure at http://vimeo.com/15461284. Through this webinar, you will learn how to better understand how to utilize Block Booking during and beyond the NACA regional conferences and National Convention. You will learn how to more eﬀectively book performers, save money and better understand why this process is an important part of how NACA does business. Whether you are a veteran Block Booker or a rookie, there is something new for you in this webinar pertaining to recent changes in the Block Booking process. The webinar is facilitated by Katie D. Holdgreve-Resendez, assistant director of Campus Life at Eastern Michigan University, and Gordon Schell, director of Business Relations in the NACA Oﬃce.
Programm ing C A M P U S A C T I V I T I E S
MARCH 2011 Vol. 43, No. 7
OMG! I’m a Student Leader!
Students Adv ising Students Creating and Sustain a Culture of Thiring st Five Things Known about I Wish I’d Leadership Getting the from Your Volu Most nteers
View Campus Activities Programming™ Online!
STARS® isdesignedto: • Provide a framework for understanding sustainability in all sectors of higher education. • Enable meaningful comparisons over time and across institutions using a common set of measurements developed with broad participation from the campus sustainability community. • Create incentives for continual improvement towards sustainability. • Facilitate information sharing about higher education sustainability practices and performance. • Build a stronger, more diverse campus sustainability community.
TheSTARS® frameworkisintendedtoengageandrecognize the full spectrum of colleges and universities in theUnitedStatesandCanada—fromcommunitycolleges toresearchuniversities,andfrominstitutionsjuststarting their sustainability programs to long-time campus sus-
CurrentissuesofCampus Activities Programming™will goonlineshortlyaertheprintedcopieshitthemail. Ifyoudon’thaveahardcopyathand,reviewarticlesand Association-relatednewsrightfromyourwebbrower. Visithttp://new.naca.org/MediaCenter/Pages/ CampusActivitiesProgrammingMagazine.aspx
Call for Volunteers! ManyopportunitiesexistforNACA memberstobecomeinvolvedinthe volunteerleadershipoftheAssociation ontheregionalconferenceandNational Conventionlevels. Forinformationonregionalvolunteer positions,visit: http://www.naca.org/Volunteers/ Pages/ConferencePositions.aspx
Forinformationonnationalvolunteer positions,visit: http://www.naca.org/Volunteers/ Pages/NationalPositions.aspx
78 Campus Activities ProgrammingTM Back to School 2011
tainabilityleaders.STARS® encompasseslong-termsustainability goals for already high-achieving institutions, aswellasentrypointsofrecognitionforinstitutionsthat aretakingﬁrststepstowardssustainability. TolearnmoreaboutSTARS® ortoregistertobecomea STARS® CharterParticipant,visit:https://stars.aashe.org/.
Universal Calendar To keep up with event dates for NACA and other student aﬀairs organizations, check out Mistaken Goal: Where Student Aﬀairs & Technology Meet at: http://mistakengoal.com/blog/2010/08/19/studentaﬀairs-conference-and-events-calendar/.
NACA® LEADERSHIP 2011–2012 NACA® BOARD OF DIRECTORS
Chair BRIAN WOOTEN KennesawState University(GA) 770-423-6329 email@example.com
Immediate Past Chair AHMED SAMAHA UniversityofSouth Carolina-Aiken 803-641-3411 firstname.lastname@example.org
Chair-Elect DAVID DeANGELIS SuﬀolkUniversity(MA) 617-573-8320 ddeangelis@suﬀolk.edu
Treasurer MATT MORRIN UniversityofSouth Florida-St.Petersburg 727-873-4180 email@example.com
Vice Chair for Programs CHRIS GILL Culver-Stockton College(MO) 573-288-6322 firstname.lastname@example.org
Executive Director ALAN DAVIS NACAOﬃce 803-732-6222 email@example.com
Member KATE EDMONDS JOEYEDMONDS Presents(CA) 818-426-1279 firstname.lastname@example.org
Member BRIAN LeDUC TexasA&MUniversity 508-353-6979 brianleduc@ tamu.edu
Member KIM BRUEMMER NorthDakota StateUniversity 701-231-8242 kim.bruemmer@ ndsu.edu
Member BRIAN GARDNER MaryvilleUniversity ofSaintLouis(MO) 314-529-9480 email@example.com
Member KRISTIE GERBER UniversityofSouth Florida-Tampa 813-974-2599 firstname.lastname@example.org
Member BARRY McKINNEY TheUniversityofTexas atSanAntonio 210-458-4160 barry.mckinney@ utsa.edu
Member KEN ABRAHAMS FunEnterprises, Inc.(MA) 781-840-0180 email@example.com
Member CRISTINA RODRIGUEZ DePaulUniversity(IL) CRODRI45@ mail.depaul.edu
2011–2012 NACA® PROGRAM LEADERS
NACA Central ZEAK NAIFEH CameronUniversity(OK) firstname.lastname@example.org
NACA Mid America JOSH GRUENKE NorthernKentucky University email@example.com
NACA Mid Atlantic CRISSY FABISZAK CommunityCollegeof BaltimoreCounty(MD) firstname.lastname@example.org
NACA Northeast SCOTT HAZAN CentralConnecticut State email@example.com
NACA Northern Plains JENNIE HARTZHEIM BeloitCollege(WI) firstname.lastname@example.org
NACA South ANGEL LEE MIANO UniversityofSouth Carolina-Aiken email@example.com
NACA West JENN MAZZOTTA Universityofthe Paciﬁc(CA) jmazzotta@paciﬁc.edu
National Convention Program Committee Chair BERRI CROSS GuilfordTechnical CommunityCollege(NC) firstname.lastname@example.org
International Programs Chair SHELBY HARRIS Universityof Massachusetts-Boston email@example.com
Institute Series Coordinator EDIE McCRACKEN FortHaysState University(KS) firstname.lastname@example.org
Webinar Series Coordinator ANGIE ZEMKE ValparaisoUniversity(IN) email@example.com
Leadership Fellows Coordinator SHANNA KINZEL Universityof Washington-Tacoma firstname.lastname@example.org
National Volunteer Development Coordinator HANK PARKINSON FitchburgState University(MA) email@example.com
Mid Atlantic Festival Coordinator KIMBERLY HERRERA AnneArundel CommunityCollege firstname.lastname@example.org
Back to School 2011 Campus Activities ProgrammingTM 79
TEN QUESTIONS with
1. Leadership/management book you are currently reading? Iamcurrentlyreadingthree leadership/managementbooks: • Fish! (Lundin,PaulandChristensen)—Our CenterforStudent Engagementteamisusing thisforourstudentstaﬀand leadershiptrainingthisfall. • Good to Great and the Social Sectors (Collins)— Ourdivisionisusingthisas professionalstaﬀ development. •Take Your Leadership to the Next Level: The 7 Secrets of Thriving Student Leaders (Sprinkles)—Iam buildingaleadershipworkshopseries,or maybeastudentleadershipdevelopment course,aroundthisone. 2. What recent campus program most exceeded your expectations and why? Handsdown,ithastobeSpringfest2011—also readasfournon-stopdaysoflatenightsand veryearlymornings,late-nightdodgeball, bands,buildingandtearingdownconcert stages,bands,vendors,agents,bands, inﬂatables,bands,coldpizza,warmsoda-pop… anddidImentionbands?!?!Eachyear,thisis anawesomelyamazingexperienceformy programmingboardonsomanylevels.This year,theyespeciallyshowedextreme dedication,enthusiasm,organization, perseveranceandresilience.Myfavoritequote fromtheeventweekend:“So,howwereweable togetBLGonsuchshortnotice?!?”Priceless! 3. Favorite campus program in your entire career and why? Bingogames—wehaveablastshopping,and thestudentsareSOexcitedand appreciativeofthesimpleprize oﬀerings! 4. Three things on your desk right now you couldn’t live without for work? • MyiPhone4—connectedwithcalendar, notes,Internet,socialmediaupdating,camera, video,polling,tallycounting,textmessaging andpicturesofmyfamily—younameit!Oh, anditstillringsfromtimetotime,too!
timeittakestodosomeoftheold-fashioned lettercuttingtoputbulletinboardsand displaycasestogether,ordesigningand printinglargeposters,isinvaluabletimespent withstudents. 7. Most challenging aspect of your job? Money,money,money,ofcourse!Ihave alwaysbeen“creativelythriy,”butwould lovetheopportunitytojustoncesplurgeona majorevent,totallynoholdsbarred!
Demetria Bell Anderson (Twitter: @ademetria)
Director, Office of Campus Involvement Hiram College (OH) (Twitter: @ocinvolvement) • TheKennedyCenterProgrammingBoard oﬃcehourslisting! • Mydiﬃcultdecision-makingtools:my Magic8Ballanddecision-dice—for entertainmentpurposesonly. 5. Best teaching tool for your students? Experience!Asidefromthat,mystudents seemtogetalotoutoftheplanningand debrieﬁngsessionsthatbookendthe actualevent/activity(avoicetrailsoﬀ fromthebackgroundsinging,“You takethegood,youtakethebad,you takethemboth,andthenyouhavethe factsoflife,thefactsoflife”). 6. Technology that most beneﬁts you at work? I’mstillalittleoldschoolonsomelevels,soI reallyappreciatetheEllison-pressandmega posterprinterinourmediacenter!Iﬁndthe
8. Tip you can share for balancing work with a personal life? Don’tbeafraidtotakethedayoﬀandtotally disconnect!Manyofusworkinginstudent activities/programmingaresuperdedicated andvery,veryloyaltoourstudents, supervisorsandinstitutions.Someofushave tobeforcedtotaketimeoﬀ,fearfulthat somethingwedidnotgettobeforewecalled itadaywillcausethebuildingtoimplode,a full-oncrisismanagementteamevacuation,or worseyet,aneventcancellation.So,tothose workinglongdaysandnights,afraidtonot sendthatlastemailortonotﬁnalizethe agendaforthepre-meetingmeeting, permissiongranted—scheduletimetounplug, relax,relateandrelease.Itwillbethereonthe deskwhenyoureturn! 9. Best programming advice you’ve ever received? Sooen,muchismadeaboutevent attendance,especiallywhenbudgetsaretight. But,Iprefertothinkasmydean,DetraWest, says,“Wedancewithwhoevercomestothe party!”Whentheyhavecrossedall“t’s”and dottedall“i’s”inpreparationmode—planning, publicityandset-up—Iremindmy programmingboardthatitisuptothe studentstocomeoutandenjoythemselves!I trytogetthemtonotworryaboutwhoisn’t there,buttofocusallenergyandattentionto makeitthebesteventpossibleforwhoisthere. 10. Something unique about your programming board? Mygroupisverycohesive.Themostunique thingaboutmyKennedyCenterProgramming BoardistheirabilitytomakeITwork—no matterwhatITis,orwhenITis!
“10 Questions with ...” is a recurring feature in Campus Activities Programming™ that recognizes individual campus activities professionals for their outstanding work and gives readers a chance to know more about them. If you’d like to recommend a professional staﬀ member to answer “10 Questions,” contact Editor Glenn Farr at email@example.com.
80 Campus Activities ProgrammingTM Back to School 2011
CAMPUS ACTIVITIES PROGRAMMING WEB EXCLUSIVE
How to WIn MEMBErS and InfLUEnCE StUdEntS Part II
Mitch Heid St. Cloud State University (MN)
Back to School 2011 Campus Activities ProgrammingTM 81
he efforT To recruiT organizaTion members never ends. it is an everyday process that pervades all aspects of an organization’s life. our student leaders know they are always recruiting members, always expected be positive role models. it’s tough work, to say the least, but many student leaders and organizations pull it oﬀ nicely. an equally important aspect of organization membership is retaining those members you’ve worked so tirelessly to get in the ﬁrst place. aer all, what is the point of recruiting members if they show up for only one year, one event or one meeting? in the back to school issue of Campus Activities Programming™ (vol. 44, no. 2), you’ll ﬁnd the article “how to Win members and inﬂuence students: Part i” (Page 57), which is based on principles outlined in dale carnegie’s 1937 book How to Win Friends and Inﬂuence People. in that article, i explored “six Ways to make People Like Your organization,” which were based on one of the sections of carnegie’s book and dealt with techniques that lend themselves to the recruitment of organization members. i promised to follow up with the section “Keep People in Your organization.” here it is. if you haven’t had a chance to read Part i yet, don’t fret. The following retention techniques should stand on their own. There is no simple way to keep members in your organization. many groups struggle with retention, even if they have mastered all the “rules.” When exploring the techniques that follow, just remember that, for the most part, they are focused on how leaders can create fun and more eﬀective engagement. if those two things are present, then members most likely will return to your organization. The reason people join organizations can vary from boredom to needing a résumé builder. but make no mistake: the reason they stay is because they are having fun and are engaged.
“Keep People in Your Organization” • The only way to get the best of an argument is to avoid it.
• If you are wrong, admit it quickly and emphatically.
members need good leaders. and good leaders admit when they have made a mistake. for retention of members, this works in several ways. first, it allows you to explore with other members why you were wrong, thereby eﬀectively engaging them. moreover, it will take a bit of pressure oﬀ of them, knowing that mistakes happen and they don’t have to be perfect. aer all, being wrong ultimately can lead any of us to learn the right way to handle something and then never forget it. • Begin in a friendly way.
nobody likes a grouch and nobody wants to be associated with a grouch. some of the most eﬀective meetings begin with a fun icebreaker. There are a multitude of reasons why icebreakers are so eﬀective, but mostly they allow you to begin a meeting in a friendly way and ease into the order of business for the day. members stay in their groups because the other members are friendly. and starting oﬀ with a friendly approach is the best way to reach that membership goal. • Get the other person to “yes, yes” immediately.
i admit this one feels a bit manipulative to me. That being said, the idea behind it is when people are saying yes, it is harder to say no. Think of this one as a recruiting technique where you ask simple questions to which most people would answer yes before you get to your point. an example would be, “do you like movies? do you like free movies? do you want to join the ﬁlms committee to plan free movies for the rest of the campus?” That line of questioning can be hard to say no to, but i personally ﬁnd it a bit too aggressive.
there is no simple way to keep members in your organization. Many groups struggle with retention, even if they have mastered all the “rules.”
When two people argue over something they are both passionate about, there is never a winner. nor does one person ever truly succeed in changing the other person’s mind, even if the other person concedes. arguments look bad to members and, for the most part, people try to avoid them. so, if arguments are happening in your meetings, chances are people will not stay with the organization. diﬀering opinions are ﬁne. in fact, having a multitude of diﬀerent opinions is what makes organizations strong. but having members arguing with each other is almost certainly ineﬀective in retention. • Show respect for the other person’s opinions. Never say, “You’re wrong.”
This can be one of the most diﬃcult principles to master because, quite frankly, sometimes members are wrong. but that is not really the point. members want to feel they are contributing to an organization while also getting something out of it. it’s okay to educate, but if you tell a member they are wrong, they may become so angry, they will not hear anything else you say and may begin questioning why they joined the group to begin with. Listen to points of view and genuinely respect them or you will be driving away members in droves. This is a good technique to try out in workshops. ask anyone in the room who their favorite superhero is. Then no matter what they say, tell them they are wrong and follow that with all the reasons why they are wrong. i bet they don’t listen to a single reason you give. of course, if you do test this, ultimately let them know you are not being sincere. 82 Campus Activities ProgrammingTM Back to School 2011
• Let the other person do a great deal of talking.
This is one of the concepts written on the yellow note cards in the activity explained in Part i in the back to school 2011 issue of Campus Activities Programming™. This especially makes sense when applied to programming boards comprised of student-based committees. one of the reasons you have members is to get their ideas. People love sharing their ideas and if allowed to do so, chances are they will stick with an organization. Lectures can be boring and, besides, students get enough of those in class. co-curricular groups should provide a chance for students to do the talking, teach one another and share ideas. That is how you build energy and fun and most members do not leave a fun and energetic organization.
• Let the other person feel the idea is theirs.
This is one of the most eﬀective methods for member retention, but it is also eﬀective for recruitment and higher event attendance, as well. When an event is set, it really doesn’t matter who thought of it ﬁrst (partly because it might have arisen from a group brainstorming session), because it takes a whole slew of people to make it happen. it is no longer an individual’s idea, but the group’s idea. Let each one of them own the event and feel a part of it so they will tell their friends about it. ultimately, you will ﬁnd you have retained your current members, maybe recruited new ones, and perhaps even added to the event’s attendance because your members were so proud of the event “they” thought of. • Try to honestly see things from the other person’s point of view.
organizations are comprised of many diﬀerent people, all with diﬀerent ideas and backgrounds. We all know not to dismiss an idea just because it is diﬀerent, but that is only the ﬁrst step. if you try to honestly see things WEB EXCLUSIVE
from your members’ perspectives and think how they think, it will lead to better meeting facilitation and more respect from your members. • Be sympathetic with the other person’s ideas and desires.
a while back, a student from india expressed an interest in showing a bollywood ﬁlm on campus. i personally had no interest in seeing or exhibiting such a ﬁlm, but i tried to see it from her point of view and was sympathetic to the fact she thought we never did anything like that on our campus. We showed the ﬁlm, people went to see it, and she is still a member today. The fact we showed the ﬁlm is not what mattered most. What was most important was i saw where she was coming from and tried to be sympathetic to what she wanted. • Appeal to nobler motives.
We have said it many times: members want to feel they are a part of something that matters. oen, when tasks come up that don’t seem in line with that, it can be diﬃcult to get members to do them. one example of this is staﬃng kiosks. We had an incident in which a student did not show up for a kiosk that was set up to promote an event. his reason for not showing up was because he saw it as work and something that had to be done. if he continued to feel that way, then he was not going to be a member for long. so, i explained to him he was not just sitting at a kiosk, he was informing the student body of a fun event (an event that he helped plan) that was paid for by their student fees and he would be helping them to take advantage of that. i did not lie to the student, because that is, in fact, exactly the purpose of a kiosk. i just phrased it in a diﬀerent way and appealed to his nobler motives of wanting to provide information to fellow students—as opposed to just working at a kiosk. • Dramatize your ideas.
We can see a little of this concept in the example i just provided. members do not like the mundane work that is sometimes associated with being a part of an organization. The idea is to make that work fun and dramatize it a little bit. This can be as simple as giving them diﬀerent titles when members volunteer for something. calling the person who makes popcorn for your event the “Popcorn volunteer” is not nearly as fun or dramatic as calling them something like “The snack guru” or “corn de Pop de Professionale.” certainly, it is a bit campy and dramatic,
but therein lies the fun. members are more willing to come back and volunteer again if there is a fun name for their position. it also doesn’t have to end there. sometimes, drama leads to fun and fulﬁllment of members and most certainly can help in retaining them. • Throw down a challenge.
This is one of my favorites because it embodies so many reasons why a person would want to become and remain a member of an organization. in part, this can be thought of as goal setting. more accurately, it would be aggressive goal setting. at st. cloud state university (mn), the ﬁlms committee wanted to challenge itself (partly spurred by the films chair) to set an attendance record for ﬁlms for the academic year. it was an aggressive goal to be sure, but what it did was make each and every one of them more entirely involved in the process of selecting ﬁlms, showing ﬁlms, and even going to ﬁlms and bringing their friends. some of you may already do this, but inciting this spirit among members to compete against past groups not only makes them want to excel further year aer year, it makes them want to return year aer year.
Nothing New Here? Perhaps That’s the Point if you have read both parts of this article, i actually hope you are thinking to yourself that i didn’t show you anything new or diﬃcult. You may be able to cite many examples of how you’ve already been pursuing these principles. good. once again, that is exactly the point. no single aspect of recruitment and retention presented here is necessarily diﬃcult to achieve. The diﬃculty lies in adhering to these suggestions consciously and consistently. nor will following these practices solve all your problems in recruitment and retention, nor should they necessarily replace any practices you already have in place. adapt them to what works for your organization. if you’d like to learn about additional principles and practices that might be useful to your campus organizations, explore dale carnegie’s How to Win Friends and Inﬂuence People. it’s available at dalecarnegie.com, along with other related resources. in the meantime, happy recruitment and retention!
About the Author Mitch Heid is a program adviser at St. Cloud State University (MN), where he works in the department of campus involvement for the university Program board. he has presented educational sessions for naca at the regional and national levels. he is currently pursuing a master’s degree in business administration at st. cloud state university, where he previously earned degrees in ﬁlm studies and creative writing. he has previously served his student union as a building manager and as the ﬁlms coordinator for the university Program board.
We have said it many times: members want to feel they are a part of something that matters. Often, when tasks come up that don’t seem in line with that, it can be diﬃcult to get members to do them.
Back to School 2011 Campus Activities ProgrammingTM 83
CAMPUS ACTIVITIES PROGRAMMING WEB EXCLUSIVE
A Vision Becomes Reality After 42 Years, the University of Louisville’s Red Barn Is Still Going Strong By Julie Onnembo, Dave Shaw, George Howe and Tim Moore University of Louisville (KY)
A Red Barn Alumni Association Reunion Concert draws a large turnout.
1969: The Beginning
n a fall evening in 1969, students and staff gathered in an Old warehOuse that dated back to the late 19th Century located on the edge of the university of louisville (KY) campus for a concert featuring Your father’s Mustache. the warehouse, which had been a part of Caldwell tanks, inc., was relocated in louisville through an urban renewal project. in attendance at this event was university of louisville student louis Bornwasser, who was intrigued by the old building and quickly made his way to the oﬃce of President woodrow M. strickler. louis convinced dr. strickler to provide $10,000 so Bornwasser and a group of fellow students might refurbish the building to some extent, and it soon became known as the red Barn. the repurposing of the building resulted in a stage being created, as well as two restrooms. Basic heating was also installed. additionally, Bornwasser’s group purchased two 35 mm movie projectors for $75 from government surplus. soon, a second event was held at the red Barn—a lecture by william Kunstler, the defense attorney for the Chicago seven, during the spring of 1970. it packed the place and the red Barn was established. located on the Belknap Campus of the university of louisville (u of l), the red Barn is now adjacent to the student activities Center (saC). it is a 7,000 square foot facility that includes a 5,000 square foot open ﬂoor auditorium with a large stage, a green room, the intersection, oﬃce spaces and a meeting area for lgBt services, restrooms and the red Barn Programs oﬃce.
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eOrge J. hOwe was hired as the first direCtOr Of student activities and began on July 1, 1970. howe knew from the beginning that the red Barn would become a popular center for student activities. “staﬀ support is very necessary in the conversion of space not originally designed for entertainment. in the case of the red Barn, i knew from upon my arrival that the red Barn was a very special place and, with the help of many students, staﬀ, faculty and alumni, our focus was to make the red Barn the center for student activities,” howe said. the 1970’s saw a wide range of student events at the red Barn programmed by the union for student activities (usa), which resulted from a merger of the student activities Board and the students working at the red Barn. the usa, under student leadership, oﬀered a wide range of events, including: • Movies, • lecturers such as dick gregory, • the annual Belknap folk and Cras festival, • Popular acts including new grass revival, doug Kershaw, John Prine, J.d. Crow and the new south and goose greek symphony, and • Beneﬁt concerts to “save the gorge,” “save the Mountain eagle,” “fight Marble hill” and “fests” similar to the ﬁrst event at the red Barn. “the red Barn is well suited for artists, who like the intimacy of the [facility], which is not that large,” howe explained. although the red Barn did not hold a permanent beer license, it did purchase temporary licenses to sell beer for special musical events that became known as “fests.” volunteers were solicited from the university trustees, faculty and staﬀ, who were known as “Brewmasters on duty,” to manage beer sales. “fests” were oen named in honor of a person or department who had contributed to the student activities experience at u of l and included the honorees’ placement on the red Barn “walls of fame.” the tradition of the “fests” continues to this day. when beer and wine are sold at events at the red Barn, city and state licenses are secured and the consumption of these beverages is oen limited to a one-drink limit per hour. in the spirit of providing a safe environment, cab vouchers
are available for a free ride home and a u of l uniformed police oﬃcer is on duty. the tradition of honoring persons on the red Barn “walls of fame” also continues and has contributed to the student activities experience at u of l. soon, Joe Potts was hired as the ﬁrst assistant director of student activities. he advised the usa and developed quality sound and lighting equipment for red Barn concerts. in the mid 1970s, u of l architects dave lee and harry sparks took an interest in the red Barn with a notion to help the students and u of l save, expand and fully renovate the red Barn. the campaign to “save the red Barn” began and received overwhelming support from the community at large. Bumper stickers to “save the red Barn” were distributed en masse and editorials in support of saving the facility appeared in the school and local newspapers. the state allocated $350,000 for this renovation, which began in 1978. a new entrance, oﬃces, restrooms, green room, stage and projection booth were built. the grand opening of the renovated red Barn was held in January 1979 and the oﬃcial dedication of the new red Barn occurred on March 30. On May 15, 1979, vice President for student aﬀairs dr. ed hammond and george howe accepted a Preservation alliance award that read: “the university of louisville has made a signiﬁcant contribution to the preservation of campus heritage. the university successfully expanded and renovated the red Barn in an architectural manner sympathetic to the original design. the Preservation alliance salutes the university of louisville for preserving the red Barn, long important as a student cultural center.” in May of 1979, new usa Chair Paul noltemeyer wrote a letter to head of aBC sports roone arledge, inviting aBC sports to use the red Barn for a concert as part of the 106th Kentucky derby in 1980. little did anyone know the importance of this gesture until aBC indeed expressed interest in using the facility. so, on May 2, 1980, the red Barn became the location for FridayNightLiveattheKentuckyDerby, a live television program that included a concert by dan fogelberg from 11:30 pm to 1 am. during the concert, fogelberg debuted his song “run for the roses,” which is now played prior to the running of the Kentucky derby right aer “My Old Kentucky home.” sandy hill and frank giﬀord hosted the event and the aBC crew allowed student volunteers to learn from and be a part of the weeklong experience leading up to the spectacular event.
Now in their 26th year, the annual Crawfish Boils, held at the Red Barn, are one of U of L’s most popular traditions. For photos of the 26th Crawfish Boil, visit http://uofl.me/ultdYOw2g.
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uring its seCOnd deCade, the red Barn COntinued to prosper and provide a wide range of diverse programs. in 1983, the usa changed its name to saB (student activities Board). air conditioning was installed with the help of Mike Mcdonald, an engineering student who served on the saB. another invaluable student leader at this time was dave Baugh, who also was an engineering student and who, upon graduation, became the assistant director of student activities. Baugh also became an invaluable asset as the university planned and built the saC (student activities Center), located adjacent to the red Barn. the saB created a new committee called aOC (adults on Campus) that sponsored the 1st annual Crawﬁsh Boil in 1986. now in its 26th year, the Crawﬁsh Boils are one of u of l’s most popular traditions. Baugh has been the oﬃcial chef for every boil, all of which have raised thousands of dollars to beneﬁt u of l students. “the red Barn seems to create campus traditions that students still connect to today,” said current director of student activities tim Moore. the saB continued to show a wide range of popular and classic movies every week. with the support of popular local radio stations and newspapers, as well, the saB brought a wide range live music to the red Barn, which included local popular bands plus national recording acts that included: • spyro gyra • the Call • Beat rodeo • the Beat farmers • the violent femmes • Black flagg • tim Krekel with fingers taylor • the Pat Metheny group • Jeﬀ lorber fusion • the gary Burton Quartet • Matt “guitar” Murphy • ralph towner and John abercrombie • alan rhody and Mickey Clark • roy Buchannan • ry Cooder • grady nutt • the Comedy store • second City • franklin ajaye • gil scott-heron • the grassroots • lacy J. dalton • georgia satellites • Jason and the scorchers • living Colour • steve earle • and many of the artists who showcased at naCa® regional Conferences and national Conventions during the ‘80s. also, thousands of dollars were secured from corporate grants to enhance the quality of the programs at the red Barn, including funds provided by Churchill downs, Coca-Cola, sav-a-step food Markets, wQMf radio, anheuser-Busch, Coors Brewing Company, Miller Brewing Company (Miller rock series) and stroh Brewery Company (white Mountain Cooler). the red Barn has always supported beneﬁt concert for causes that improve the human condition. in the 1980s, a series of red Barn beneﬁt concerts supported by popular local radio stations raised hundreds of dollars for causes that included: • the united negro College fund • u of l university College Outstanding achievers scholarship Program WEB EXCLUSIVE
The SAB’s annual foam parties fill the Red Barn with suds and fun.
• the united way • whas Crusade for Children • the wlrs scholarship Program and Bridge the gap • the national Kidney foundation • Kentucky easter seal society • funds for sam Bush for his cancer treatment in nashville • the Martin luther King Jr. Center for non-violence • the american heart association • Kosair Children’s hospital • usa for africa this tradition continues with the assistance of the saB and the red Barn alumni association (rBaa). it was in this spirit of giving that led seven recent alumni who had contributed to the earlier success of the red Barn to establish the red Barn alumni association (rBaa) in 1985. a university gi account was established to provide scholarships to students and to raise money to establish an endowment. the florence M. strickler endowment was established in 1992 with $5,000. to date, the gi account and the endowment have provided 253 scholarships totaling more than $49,000. in 1998, the rBaa began raising funds for an endowment to ensure the ﬁnancial well being of the red Barn and preserve the programmatic function that is its tradition. the rBaa endowment was established in 2008 with $25,000. More than $1,900 was provided to saB and nPhC for programs at the red Barn this past year, with more than $5,000 still available for this purpose. three other endowments were established through student aﬀairs and the red Barn to beneﬁt students. the endowed harold adams Memorial scholarship fund was established in 1987 following the untimely death of adams, who was the assistant vice President for student life. the dennis C. golden torchbearer endowment was established in 1996 in honor of vice President for student aﬀairs dr. golden. in 2008, a ﬁh endowment was established honoring george J. howe. these ﬁve endowed programs have provided 1,176 scholarships totaling more than $210,000 and program support totaling more than $5,000. the rBaa and torchbearer scholarship committee meet at the end or aer each semester to recommend and select the scholarship recipients. all scholarship awards are made through the financial aid oﬃce. at the 1987 naCa® national Convention, george howe received the Patsy Morley Outstanding Programmer award for outstanding achievement in the ﬁeld of student activities advisement. in March 1988, edward w. scharre Jr. completed a thesis for a master’s degree in the development of student activities at the university of louisville. scharre served as the saB Chair in 1984-86. BacktoSchool2011 Campus Activities ProgrammingTM 86
he next deCade BrOught Change tO the red Barn. in 1990, the 35mm movie function of the red Barn moved to the floyd theater in the student activities Center. following the shooting of a u of l football player (who survived) at the red Barn in 1992, metal detectors were installed to assure the safety of students and guests for many events. the move of the student activities staﬀ to the saC in 1990 limited the “hands on” approach to programming at the red Barn. in 1998, howe moved back to the red Barn to continue its revitalization. the saB provided howe with a yearly budget to support the activities and programs of the saB and recognized student organizations. howe’s move and presence infused new life into the facility. with the total support of the student activities staﬀ, the red Barn continued to ﬂourish as it provided hundreds upon hundreds of programs and services. these events were sponsored by the saB, recognized student organizations including nation Pan-hellenic Council (nPhC) and the “divine nine” organizations that comprise nPhC, university departments, alumni groups and other interested parties. in celebration of its ﬁrst 20 years, in 1991, the red Barn was included in the book InvolvingColleges:SuccessfulApproachestoFosteringStudentLearning andDevelopmentOutsidetheClassroom, published by Jossey-Bass. Mention was made of the fact that the red Barn had sponsored approximately 10,000 events involving more than 1,000,000 students, faculty and staﬀ and had generated more than two million dollars in revenue. the book went on to say the red Barn played an important role in maintaining positive ties between the university and the city of louisville. in december 1992, under the leadership of vice President for student aﬀairs denny golden, a national Pan-hellenic Council was established at u of l. nPhC has sponsored countless educational programs, social events and parties over the years. in 2007, nPhC and its sororities and fraternities were honored and recognized at a reception at the red Barn celebrating the 15th anniversary of nPhC at u of l. they were presented a plaque including a photo of each of the active sororities and fraternities that was placed on the red Barn wall of fame, as well as at the nPhC suite. dr. dennis spetz, aer being nominated by george howe, received the trustees award in 1993, which included $5,000 contributed by the trustees. this award recognizes a faculty member who has had an ex-
traordinary impact on students’ college experience. dr. spetz was the master of ceremonies for the ﬁrst event at the red Barn in 1969 and his spouse, Christel, was one of the brewmasters. they both have been two of the red Barn’s greatest supporters ever since. forfeiting a dinner in his honor, dr. spetz asked that his recognition be at the red Barn and the cost of the dinner ($2,000) be put into the endowed harold adams Memorial scholarship fund. this recognition event, called the “end of Class spetz fest,” was held May 4, 1993, and was attended by Chair of the Board of trustees Bob Benson, who presented this award to dr. spetz. in 1998, funds were provided by the student government association, the vice Presidents for student aﬀairs and development and the President to purchase and install three stained glass windows and a marquee at the red Barn.
inCe 2000, the red Barn has hOsted hundreds uPOn hundreds of events that have included saB annual foam parties, 10 rBaa red Barn Birthday Parties, 10 saB and rBaa Crawﬁsh Boils, 10 intramural awards luncheons, red Cross Blood drives, beneﬁts for staﬀ persons in need, 10 years of good Morning Commuter programs every tuesday (with free coﬀee and doughnuts), church services and concerts, rBaa reunion Concerts, summer fest Concerts, the honors student Council Book and Media sale (in 2009, which netted $10,000 for Kosair Children’s hospital), game watches, 10 years of rBaa tailgate parties before every home football game and cookouts of every size imaginable. in 2001, an article titled “My true story: every gi Matters” by george howe, former director of red Barn Programs and now director of special Projects and development at u of l, was included in the book Dollarsfor Dreams:StudentAﬀairsStaﬀasFundraisers, which was published by nasPa (national association of student Personnel administrators). in the conclusion of this article, mention is made of the endowed harold adams Memorial scholarship fund, the florence M. strickler endowment and the dennis C. golden torchbearer endowment having provided 402 awards to u of l students totaling $59,576 since 1988. the life of the first lady of the red Barn, florence M. strickler, was celebrated at the rBaa red Barn 34th Birthday Party on dec. 12, 2003. Mrs. strickler was the spouse of President woodrow M. strickler (1968-
A recent end-of-the-semester Finals Fiesta at the Red Barn was expected to attract from 100 to 200 people. Instead, it brought in nearly 500.
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1972), who, with the students and staﬀ, founded the red Barn in 1969. Mrs. strickler was most supportive of the red Barn and was ultimately and aﬀectionately dubbed by the rBaa as its “first lady.” in 1992, the rBaa set up a scholarship endowment in her honor and, in 1999, one of the three new stained glass windows in the red Barn was dedicated to her and dr. strickler. upon her death in december 2002, Mrs. strickler bequeathed $800,000 to the university—$750,000 to create the woodrow M. strickler endowed Chair in the College of Business and $50,000 to the florence M. strickler scholarship endowment managed by the rBaa. On dec. 7, 2007, with the approval of the Board of trustees, the red Barn was dedicated as the george J. howe red Barn. the outpouring of human and ﬁnancial support for this event established the george J. howe student leadership fund and the george J. howe endowment with $10,000. the purpose of the fund and endowment is to beneﬁt u of l students. Permission was granted to use an original watercolor painting of the red Barn, completed by gene hatﬁeld in 1989, for the invitations for this event and for note cards to communicate to donors and other interested parties. in 2008, the lgBt student group oﬃces moved into the red Barn in the space that was formerly the Cultural Center and before that, the student activities oﬃces. this space is now called the “intersection” and is a hub for students in participating in Common ground and BlackOut, as well as other student groups. in 2009, the red Barn hosted three public radio wfPK live lunch concerts sponsored by saB. Plans are in place to continue this new tradition under the leadership of stuart neﬀ.
Four Decades and Going Strong
Ow in its 42nd Year, the red Barn COntinues tO be a vital part of student activities at the university of louisville, complementing the services and programs provided by the student activities Center and student activities staﬀ. it continues to be a hub of student-generated programs. during the past four decades, the purpose of the red Barn has evolved into one that is now threefold: 1. to provide services and program space for the student activities Board, recognized student organizations, university departments, the rBaa and other interested persons and parties; 2. to provide ﬁnancial support to the saB and recognized student organizations for programs and events at the red Barn; and 3. to raise funds to provide increased ﬁnancial support to u of l students and student groups through the six endowments and 11 programs that have been established. what has not changed over the years is a focus on students. “the red Barn has always been a student building in terms of usage and programs. students have been an integral part of the operation and programs of the red Barn since its start 42 years ago,” howe said. Authors’ Note:
to all the persons who have contributed to the history and success of the red Barn, as well as to this article and the Q&a article that appears in the Back to school 2011 issue of CampusActivitiesProgramming™, we appreciate and thank you very much for your time and eﬀort.
About the Authors Julie Onnembo is the assistant director of student involvement at the University of Louisville (KY). a new Jersey native, she earned a bachelor's degree in literature/language from the richard stockton College of new Jersey, where she later served as assistant director of Campus activities and supervised evening and weekend programming. in 1992, she moved to Kentucky, where she earned a master’s degree in education and counseling psychology from the university of louisville. in 1994, she became the university of louisville's ﬁrst coordinator for special Projects, a position she held until 1998, when she was promoted to assistant director for leadership and Programs. she has been nominated by her students for the Provost’s advising award for exemplary advising and was a recipient of the lgBt ally award and the intramural sports service award. she continues to be a member of naCa, the national association of student Personnel administrators (nasPa), the american College Personnel association (aCPa) and the sigma sigma sigma sorority. George J. Howe is director of special Projects and development and formerly director of red Barn Programs at the University of Louisville. the red Barn was renamed the george J. howe red Barn in his honor on dec. 7, 2007. he became the ﬁrst director of student activities at the school in 1970 and also served as director of the student activities Center. active in naCa over the years, he is a recipient of the association’s Patsy Morley Outstanding Programmer award. in addition, the university of louisville has presented him with two Outstanding Performance awards. he holds a bachelor’s degree in history from Muskingum College (Oh) and a master’s degree in secondary education from west virginia university.
Dave Shaw is assistant director of facilities at the University of Louisville. active in naCa and in
the association of College unions international, he was named to naCa’s former great lakes region hall of fame in 2000. a us air force veteran, he is also active in the community, having served as president of Clark County habitat for humanity. he holds a bachelor’s degree in mass communications/public communication, with a minor in ﬁlm, from western illinois university and a master’s degree in college student personnel from eastern illinois university. Tim Moore is director of student activities and the student activities Center at the University of Louisville. throughout his career, he has worked in
student activities at southern Methodist university (tx), dartmouth College (nh), the university of nebraska-lincoln, idaho state university and southwest state university (Mn). active in naCa, he has presented educational sessions on the regional and national levels and has held a number of leadership positions. in addition, he has published articles in CampusActivitiesProgramming™ on a broad range of topics. he holds a bachelor’s degree from the university of richmond (va) and a master’s degree from western illinois university.
See Page 70 of Campus Activities ProgrammingTM, Vol. 44, No. 2 (Back to School) for “Challenges and Lessons Learned: The University of Louisville’s Red Barn Thrives Throughout Four Decades.”
Editor’s Note: Do you have an exciting, unusual or historic programming venue on your campus that deserves special attention? If so, contact Campus Activities Programming™ Editor Glenn Farr at firstname.lastname@example.org about developing your story for inclusion in this magazine and on the NACA website.
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