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orporate types, it is pre-
sumed, know how to make
money. Artists, it is com-
monly thought, don't.
A brigade of corporate profes-
sionals, including strategic plan-
ners, publicists and even
attorneys, is working to bridge
that gulf by helping flagging
and fledgling arts and cultural
organizations thrive and pros-
per.
The client roster of the five-
year-old Business Volunteers
for the Arts (BVA) numbers
over 50 organizations, includ-
ing the Birmingham/Bloom-
field Art Association, the
Jewish Ensemble Theatre, Mo-
saic Youth Theatre, Arts &
Scraps, Detroit Dance Collec-
tive, the Farmington Philhar-
monic, Museum of African
American History and the De-
troit Focus Gallery.
Last fall, BVA trained some
50 professionals, all of whom
have at least three years of ex-
perience in their fields, for place-
ment in the organizations.
Typically, they are in middle and
upper management positions in
their companies.
Sometimes the job is big— big
enough to send in a SWAT team
of people with management,
marketing, strategic and finan-
cial planning expertise.
For example, Plowshares The-
atre in Detroit needed a "more
synergistic approach" to its prob-
lems, says Joshua Sherbin, cur-
rent president of the 21-member
BVA board of directors and se-
nior counsel for Troy-based Kel-
ly Services.
The SWAT team approach
was develOped last year, he says,
after BVA realized some non-
profits didn't know what they
needed.
"It might be to restructure the
board or implement a plan," he
says. "Implementing achievable
and realistic goals is the real mis-
sion of BVA."
The benefits to the arts or cul-
tural organization, aside from the
infusion of professional know-
how, is better public exposure.
For the volunteer; the reward
is not just in "giving back to the
community," but in exploring the
myriad and sometimes hidden
cultural treasures in the metro-
politan area, Mr. Sherbin says.
"You are put in touch with
undiscovered gems," he says,
mentioning the Farmington Phil-
harmonic.
Or, a volunteer could become
an integral part of the organiza-
tion.
Debbie Pfliegel was invited to
join the board of directors of Mo-
saic Youth Theatre in Detroit af-
ter helping as a BVA volunteer
from early 1994 until mid-1995.
Another BVA volunteer had pre-
viously helped the theater set up
an accounting system.
Joshua Sherbin of Business Volunteers
for the Arts
Mosaic didn't need help rais-
ing money, says Ms. Pfliegel, di-
rector of corporate development
and planning and compliance for
Motors Insurance Corp., part of
General Motors. What it did need
was a long-term vision for itself,
she says.
"They wanted to be clear about
their vision for the future and
make sure they spent the mon-
ey in that direction.
"It was a really good project.
We have the mission, the goals,
the time frame," Ms. Pfliegel
says.
As a board member, she be-
lieves she has brought a sense of
discipline that had been missing
from the board.
At Detroit Dance Collective,
Ms. Pfliegel found an organiza-
tion in need of board develop-
ment, a marketing plan, and an
"honest assessment" of the in-
terest in modern dance in De-
troit.
Her alliance with DDC, which
began in early 1992, wasn't the
"success story" that Mosaic later
was, she says, but they were able
to identify problems and sort out
what the organization needed to
do.
Ms. Pfliegel, who joined BVA
in 1992, contributed 40 to 60
hours total to the Detroit Dance
Collective.
"It's not a big commitment,"
she says. "These organizations
c_-/\