Fundraising for Arts Institutions & Festivals - Pete Tidemann

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Fundraising for Arts Institutions & Festivals - Pete Tidemann

  1. 1. Welcome to Fundraising for Arts Institutions & Festivals
  2. 5. ZIFF 2001
  3. 6. ZIFF 2001
  4. 7. ZIFF 2001
  5. 8. ZIFF 2001
  6. 9. A division of Linear Velocity
  7. 10. <ul><li>Linear Velocity - ArtsXchange Workshops </li></ul><ul><li>Sound Reinforcement </li></ul><ul><li>Theatrical Lighting Design </li></ul><ul><li>Video Engineering </li></ul><ul><li>Music Composition for Film </li></ul><ul><li>Dance/performance art </li></ul>
  8. 11. Technical Perspectives from our festival in Zanzibar
  9. 18. Policy as Conversation. Co-opetition. Why it matters.
  10. 19. Who are you? What is it you seek? What are you collaborating on? What is your common ground? How can you make your communication simple and effective?
  11. 21. I spent my early childhood living with my old aunt in the suburbs of Jacmel. I attended elementary school there until 5th grade when she moved to New York City and sent me back to my parents’. I was 12. Back at home, I lived with my mom, my dad and my 10 siblings. My parents were at each other’s throats and often breaking up. As a consequence, I was taken out of school for a few years. I always dreamt of being on stage singing or acting and, guess what? Thanks to Ciné Institute, I am well on my way. In my spare time, I think of scripts, sing church music, and imagine my picture on billboards around the world. My hunger for knowledge is finally being satisfied. Filmmaking is thrilling. I am already a proud camerawoman. Every day brings a new opportunity… For instance, I am so thankful for having taken part in the making of Ayiti Ayiti!* My future is full of hopes. MARJORIE LAFLEUR 24
  12. 22. I was born and raised in Jacmel. I have 3 older brothers, one of whom is a painter, another owns a cultural website and the 3rd is a violin player, teaching music in Mozambique. I am now finishing my university studies in communications and journalism. Before Ciné Institute, I wanted to be Haiti’s famous viola player. Now, I am loving film. In the school, I love my colleagues, the harmonious atmosphere, the team spirit, the staff’s devotion, and the filmmakers who come from all over the world… They make me dream!!! I’m now convinced I want to help my community through film. I can’t predict the future but I know that if we want things to change, we have to get involved. Later on, I will pursue cinematography, write stories, edit, and become a reporter known throughout the world. My family and friends will be proud of me. KEZIAH JEAN 23
  13. 24. Civic Engagement in the Arts Defined as the personal or collective action to create positive impact in the community.
  14. 25. 4 - C Model of Civic Engagement in the Arts Container – provides a physical, emotional or psychological space for civic engagement. Convener – provides the purpose and call for a formal gathering. Connector – provides a platform for people to bridge their differences and bond through their similarities. Catalyst – provokes awareness, response or movement on a given issue.
  15. 26. Fundraising Market <ul><li>Four Potential Markets for Money </li></ul><ul><ul><li>Foundations </li></ul></ul><ul><ul><li>Corporations </li></ul></ul><ul><ul><li>Government </li></ul></ul><ul><ul><li>Individuals </li></ul></ul>
  16. 27. Why do Foundations Give? <ul><li>To build organizational capacities. </li></ul><ul><li>To benefit the community. </li></ul><ul><li>To build on institutions that are permanent. </li></ul><ul><li>To be involved in unique organizations which make them look good. </li></ul><ul><li>To leverage their contributions so others will become involved. </li></ul>
  17. 28. Why do Corporations Give? <ul><li>Corporations don’t give. They invest in business opportunities. </li></ul><ul><li>To seek community well being. </li></ul><ul><li>To build a positive image for the company. </li></ul><ul><li>To gain exposure to a consumer audience. </li></ul><ul><li>To gain acceptance in a community. </li></ul><ul><li>To display a social consciousness to the public. </li></ul>
  18. 29. Why do Individuals Give? <ul><li>Because they are asked. </li></ul><ul><li>They believe in the org and want to make a positive impact. </li></ul><ul><li>They want to be remembered and leave a legacy. </li></ul><ul><li>Tax Benefits. </li></ul><ul><li>They give because they enjoy it. </li></ul>
  19. 30. Organizational Structure Institution - An Institution is a permanent structure for ongoing commitment to the community. Donors expect that an arts organization will be long lasting. Without institution building, donors will not give money for years to come. Arts organizations must make a commitment to capacity building, community involvement, education, or cultural interchange.
  20. 31. Organizational Structure <ul><li>Board of Directors </li></ul><ul><li>Senior management staff </li></ul><ul><ul><li>Program director </li></ul></ul><ul><ul><li>Managing director </li></ul></ul><ul><ul><li>Development director </li></ul></ul><ul><ul><li>Finance/business director </li></ul></ul><ul><ul><li>Marketing director </li></ul></ul><ul><li>Support staff </li></ul><ul><li>Volunteers </li></ul>
  21. 32. Long Term Planning To build an institution there must be a long range plan in place. Initially a 3 to 5 year plan must be developed.
  22. 33. <ul><li>Long Range Plan Includes: </li></ul><ul><ul><li>A statement of mission. </li></ul></ul><ul><ul><li>Internal strengths and weaknesses. </li></ul></ul><ul><ul><li>Goals. </li></ul></ul><ul><ul><li>Objectives and tasks. </li></ul></ul><ul><ul><li>Evaluation processes. </li></ul></ul><ul><ul><li>Other information – Staff and board responsibilities, </li></ul></ul><ul><ul><li>description of operations, facilities, arts programs, </li></ul></ul><ul><ul><li>and financial position. </li></ul></ul>
  23. 34. Steps in Long Term Planning <ul><li>Board and Staff must have a Mission and Vision statement. </li></ul><ul><ul><li>What are the services and programs of the organization? </li></ul></ul><ul><ul><li>Who are the services or programs intended? </li></ul></ul><ul><ul><li>Which geographic area is served by the programs? </li></ul></ul>
  24. 35. Fundraising Campaigns Diversify fundraising strategy – large and small. Have an annual campaign starting with individuals, moving toward foundational and corporate support Develop a sense of ownership with donors.
  25. 36. Fundraising Campaigns Hold events to get to know individuals. Develop a sense of ownership with donors. Develop programs or areas of focus to further mission of organization. <ul><li>Develop unique events which involve the community. </li></ul><ul><li>Fun run, parades, educational workshops, </li></ul><ul><li>literary readings, discussion groups, raffle dinners, </li></ul><ul><li>events outside of your regular programs. </li></ul>
  26. 37. Website Links: <ul><ul><li>www.culturalpolicies.net </li></ul></ul><ul><ul><li>Research on cultural policies in the EU </li></ul></ul><ul><ul><li>www.culture-dev.eu </li></ul></ul><ul><ul><li>EU Conference on Culture & Creativity </li></ul></ul>
  27. 38. Record Keeping, Transparency and Accountability Database of potential and past donors Record keeping of financial transactions. Accountability for funds, and results of programs.
  28. 39. Thank your donors, individuals, participants, staff, volunteers, media and the community!
  29. 40. Create a community
  30. 42. www.linearvelocity.com Thank you!

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