Lesson number one for theatricals; there is a big difference between a viewer and an audience. Watching a play or listening to a live concert is more of a communal activity, while viewing a work of art is a more personal interior journey. While busting caps on the inequities of local theater venues feels good, it leaves the Visual Artist out in the cold wondering what they are doing there. Of the 64 statements made at the event, 50 were theater specific and the remaining 14 were somewhat related to the Visual Arts. Of the 14, three organizations were briefly discussed: CoCA, 911 Media Arts, and the SAW Gallery. This compares with the virtual litany of every Theatrical House in Seattle, [including all the dead ones].

Lesson number two; get over yourselves and learn how to listen. There were some pretty lame suppositions placed forward by the very people who control some of the funding that we all apply for. You might want to debate the statement that "Seattle is the Envy of Europe", or ask the question 'Does Seattle need 11 symphony orchestras?'. Bureaucratic platitudes like "we are the we" should not be let to stand like a feel good opiate unchallenged.

Lesson number three; know your numbers. The performing arts take the lion's share of funding in the Seattle Metropolitan Area. By lion's share, I am talking about an entire pride rampaging the vast antelope herds of the African Savannah. The only local organization which makes grants to individual artists is Artist Trust. The folks at places like Arts Fund support institutions not individuals. For the Visual Artist, the opportunities available are one tenth of what there is for the Performing Artist.

Lesson number four; it is immoral to ask Visual Artists to provide work for your charity auction. Artist Trust is the only organization that should use this vehicle as a fund raiser. Making Visual Art is work. You would not expect to do 50 hours of data entry for free, so why should you ask Visual Artists to support your theater?

Lesson number five; there is no one spokesperson for the Visual Arts in Seattle. We were all impressed by the Sith Lord like performance of the CEO of a local visual arts non-profit. If you were paying attention, he was equating success with the number of people at the organizations openings not with overall attendance of any given exhibit. Throwing raves is not a very stable funding source for the Visual Arts or any other Arts Organization.

Lesson number six; 501 c (3) non-profits do not have the right to exploit people's labor. If you have people working for you then you should pay a living wage and the appropriate taxes. If you have volunteers, you owe it to them to not waste their time. if you are in a codependent relationship with a non-profit theater it is time to break the cycle and do something else.

Lesson number seven; there is a difference between the world of business and the world of non-profits. One works on the notion of viability based on the bottom line while the other provides goods and services which are a civic good. The arts have never been able to pay their way like business because the terms of profit are measured in human values and not in dollars and cents.

Lesson number eight; non-profits are accountable. If you cannot show exactly where every penny is going, then you cannot expect anyone to support your efforts. Dirty laundry should be aired in the sunlight and not left in the closet to fester.

Lesson number nine; stop being the victim. If you do not like the games that are currently being played all over Seattle then kick over the game board and start you own. Institutions do not create art, individuals do.

The experimental nature of the inaugural Sh!TSTORM dialog showed the need for more thought about how the arts are valuable to our community. A common vocabulary needs to be developed so that we all can understand the complexities of the issues. Hopefully by the next event we can more forward with more concrete proposals of what needs to be done in Seattle.