How Is the Immigration Ban Impacting Your Organization?

Since it was signed last Friday, President Trump’s recent executive order titled “Protecting the Nation From Foreign Terrorist Entry Into the United States” has generated a significant amount of confusion throughout varying levels of Federal bureaucracy responsible for implementation. One section that impacts arts organizations and the communities they serve is the immediate ban on people hailing from Iraq, Syria, Iran, Libya, Somalia, Sudan and Yemen.

Trump: Get The F!ck OutThe story is in a rapid state of development and although the initial implementation was supposed to bar legal residents with green cards if they traveled outside the United States and only allow re-entry on a case by case basis, the White House backed down on that provision Sunday afternoon.

Until the issue is decided in courts and/or Congress, international travel has been disrupted to a considerable degree.

For performing arts organizations, this could mean guest artists from countries on the ban list (even those with dual citizenship) would not be allowed to enter the US and have to cancel appearances.

The impact reaches deeper in that organizations engaging in international touring must now be concerned about stranding artists or administrators hailing from countries on the ban list if they are barred admission upon the organization’s return.

What I’m interested in doing today is gathering first-hand accounts from arts organizations and individual arts managers and artists who have been or expect to be adversely impacted by the President’s executive order.

I want to learn more about what you’re going through and if there’s anything you can share that would help your colleagues and the field as a whole.

To that end, please take a moment to leave a comment below or reach out via email. The more we can document and share, the better.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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