[PDS] Getting Funding and Sponsorship - Pei-Chin Tay


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The degree show is a celebration of the completion of your degree and the start of your career. But can it change your future? What might happen at the show – and, more importantly, how can you help make it happen? Hear from alumni that have been through the degree show process, what it has lead to and their tips to make your show a success.

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  • Funding and sponsorship is a considerable sector, and there are professional fund-raising companies and charities specialising in that. So, what are your options? Let’s begin by looking at all the various avenues out there… Public money can be in the form of funding from central, regional or local government or from the National Lottery (through the various lottery funds), Arts, Craft and Design Councils, Government departments or government funded bodies such as Resource or the Learning and Skills Councils. Public money could also take the form of Regeneration funding, or European funding. Sponsorship usually means any kind of support from any private source. This will mostly be with a profit making company in return for benefits (usually marketing related). When embarking on any kind of sponsorship deal it’s important to establish what the company’s intentions are and whether these fit with your ethos and message. Sponsorship is a two way process and in return for money or sponsorship in kind (services, goods or expertise) a company will expect some benefits. Donations from companies are different to sponsorship so it is important to establish which form of support you are receiving from a company. If a company makes a donation, they receive no benefits for doing so. This is very important as breaking these rules could result in the company losing their corporation tax benefits and any VAT registered museums having to pay 17.5% tax on the donation. There are about 8,800 independent grant making trusts and foundations in the UK, giving about £2 billion each year. They vary enormously: some give grants nationally or internationally, some only fund local projects or initiatives. Some are restricted to a particular area or particular beneficiaries. Larger trusts give tens of millions of pounds each year whilst smaller ones (the majority fall into this category) will only give a few thousand. All trusts are controlled by a board of trustees but larger ones will have paid staff and administrators who deal with applications. The Association of Charitable Foundations exists to promote good practice among trusts and foundations and to educate the public about them. Most trusts and foundations like to fund areas the government does not provide for such as: New methods of tackling problems Disadvantaged and minority groups Responses to new needs or problems Work which is hard to finance through conventional fundraising One-off projects Short and medium term work which will bring long term benefit and lead to other funding from elsewhere
  • Different types of ‘money’ Typically a venture capitalist is looking for a return of 10 to 20 times their money on a time scale of three years or three to five years -- an enormous return.
  • Different types of support – sometimes ‘in cash’ support can be more valuable than cash!!! Consider brand value, recognition, expertise, endorsements, etc
  • Message from our sponsor COLAS: I met Akram Khan before I had ever actually seen his work. In April 2009, my team set up a dinner appointment in London with the members of Akram’s company to talk over the possibility of forming a partnership. Looking around me that evening, I realized that the people at our table came from a plethora of countries and cultures – England, France, India, Pakistan, the United States and Germany. Genuine multiplicity, a crossroad of diversity. During the meal, I watched Akram, and he watched me. The powerful yet timid expression in his eye, his simple gestures, even his very presence astounded me, and yet, I felt at ease. We both spoke of the paths we had taken, of our lives, and of the meaning, the value of the social link created by Roads. He explained to me the role of the human body as he sees it – a vector of communication, cultural memory and personal history. And, then, both of us began to see that our two worlds obviously shared the idea of forming links between people and peoples . From the confrontation of our ideas on Diversity emerged a common image: the Vertical Road. Today, the management team at Colas, which does nearly half of its business in international markets, is still very French and very male-dominated. This is why ‘ Diversity ’ is the theme that I have decided to focus on in our upcoming corporate communication and human resources campaigns . What I mean by ‘Diversity’ is that of the human experience, and even more, of the desire to experience life. I do believe that the young, the old, women, the strong and the weak, will enjoy building a heterogeneous work environment, making them more efficient, keeping their minds stimulated. People will be able to draw on other strengths, pull away from obvious, well-travelled landmarks, dare to question certainties, let themselves be mesmerized by different faces and facets - leading them to unveil unknown sources of energy and discover the vertical road that resonates in each of us. That is also how this partnership came to be. Hervé Le Bouc Chairman and CEO of COLAS
  • The opportunity Journalist, playwright and general bon vivant Damian Barr came to live at Andaz Hotel for a month. While there, he provided guests with a book menu in their rooms. Guests could call reception and have Damian come to their room or meet them at the bar and read to them aloud. When the Andaz first launched in East London, it wanted to position itself as a hotel which offered a unique arts experience. Damian’s innovative residency surpassed all expectations and his unique concept whipped up a global media storm. The impact The Andaz Hotel’s innovative vision brought about the world’s first reader-in-residence. Andaz went on to launch hotels in New York and Los Angeles, but it was its innovative partnership with Damien Barr that put the brand on a global stage. The multimedia campaign tapped into social networking sites boosting both partners’ profile beyond expectation. Damian has become his own ‘brand’ and his bibliotherapy is now much in demand around the world. The Andaz meanwhile has gained a reputation for promoting the arts – a corporate with a cultural sensibility.
  • LCC Photography – sponsorship by Kodak CSM Ceramic Design – fund-raising at art and craft market
  • One-week pop-up shop alongside a programme of talks, workshops, etc. Free retail space from Camden Council Raised £7500 in a week Picked up valuable experience of running events – managing production, setting prices, organising, communication, marketing, teamwork, etc Great exposure to market (speaking to customers) and showcase opportunity before the ‘real’ show
  • One of the pioneers of crowdfunding in the music industry have been the British rock group Marillion . In 1997 American fans underwrote an entire US tour [2] to the tune of $60,000, with donations following an internet campaign - an idea conceived and managed by the fans before any involvement by the band. Marillion has later used crowdfunding with great success as a method to fund the recording and marketing of several albums Crowdfunding in the film industry was pioneered by Spanner Films with the climate change documentary The Age of Stupid [5] . The Age of Stupid team, headed up by Franny Armstrong , successfully raised more than £900,000 over a period of 5 years (december 2004 to 2009, date of release) to cover both the production and promotion of the film. The film’s crew worked at very low wages but also received crowd-funding “shares”. Under the terms of the crowd-funding contract the investors and crew are paid once a year for ten years from the release of the film
  • Use of networks
  • Financial leverage such as match funding? Remember to invite your supporters to the opening/launch!!!
  • Once a project has been completed the review process can begin. The next step is to begin reflecting on what went right, what went wrong and what were the surprises. 'What went right?' and 'what went wrong?' are answered broadly by considering the performance, cost, quality and time goals. The actual outcomes vs. the project definition target outcomes indicate how well the project was managed. But this will only give a broad indication. It is worthwhile looking at things in more detail.
  • [PDS] Getting Funding and Sponsorship - Pei-Chin Tay

    1. 1. Getting Funding and Sponsorship 3.00pm-4.30pm, Mon 28 February Pei-Chin Tay Enterprise Officer ECCA
    2. 2. info@ecca-london.org / www.ecca-london.org programme
    3. 3. Let’s see what’s out there
    4. 4. info@ecca-london.org / www.ecca-london.org options
    5. 5. info@ecca-london.org / www.ecca-london.org differences
    6. 6. info@ecca-london.org / www.ecca-london.org Hands-on Hands-off For profit Not for profit differences Adapted from: Hugh Mason Private (sponsorship)
    7. 7. info@ecca-london.org / www.ecca-london.org differences Company valuation Risks Time Adapted from: Hugh Mason
    8. 8. info@ecca-london.org / www.ecca-london.org differences
    9. 9. Let’s look at some examples
    10. 10. © Akram Kham Company We both spoke of the paths we had taken, of our lives, and of the meaning, the value of the social link created by Roads. He explained to me the role of the human body as he sees it – a vector of communication, cultural memory and personal history. And, then, both of us began to see that our two worlds obviously shared the idea of forming links between people and peoples . From the confrontation of our ideas on Diversity emerged a common image: the Vertical Road. Hervé Le Bouc Chairman and CEO of COLAS case study: corporate sponsorship
    11. 11. case study: innovative partnerships Image from abcnews Damian Barr as ‘Reader-in-residence’ at the Andaz Hotel
    12. 12. case study: degree shows Image source: http://csmartauction.org/2010.htm
    13. 13. case study: degree shows Image source: http://www.csmpopup.com/
    14. 14. case study: crowd-funding © Cofundos.org © Spanner Films http://www.spannerfilms.net/how_to_crowd_fund_your_film
    15. 15. case study: investor © Innocent
    16. 16. Let’s do something about it!
    17. 17. info@ecca-london.org / www.ecca-london.org consider… <ul><li>Aims & Objectives: </li></ul><ul><li>What type of project? (e.g., personal/community/ educational/social enterprise) </li></ul><ul><li>What do you want to get out of your project? </li></ul><ul><li>What are some of the key activities? </li></ul>
    18. 18. info@ecca-london.org / www.ecca-london.org consider … <ul><li>Impact & Benefits </li></ul><ul><li>What impact can your project create? (state qualitative & quantitative key performance indicators, a.k.a., KPIs) </li></ul><ul><li>Why is this important? </li></ul><ul><li>Who is your target audience and how can they benefit? </li></ul><ul><li>How can the funder(s) benefit? </li></ul>
    19. 19. info@ecca-london.org / www.ecca-london.org consider… <ul><li>location </li></ul><ul><li>equipment </li></ul><ul><li>materials </li></ul><ul><li>money </li></ul><ul><li>publicity </li></ul><ul><li>expertise </li></ul>What do you need?
    20. 20. info@ecca-london.org / www.ecca-london.org consider… <ul><li>Research & Identify the right organisation(s) </li></ul><ul><li>Who is your target audience? Are they similar as the organisation/funder? (e.g., potential customers, locality, complementary services) </li></ul><ul><li>How can your project contribute to the funder(s) remit or agenda ? </li></ul><ul><li>Any potential conflicts? (e.g., education and cigarette brands?; competing sponsors?) </li></ul>
    21. 21. info@ecca-london.org / www.ecca-london.org get cracking! <ul><ul><li>Think of a project/event which you are seeking funding or sponsorship for </li></ul></ul><ul><ul><li>Identify the following: </li></ul></ul><ul><ul><ul><li>Aims & Objectives </li></ul></ul></ul><ul><ul><ul><li>Impact & Benefits </li></ul></ul></ul><ul><ul><ul><li>Organisations to approach for funding, and WHY? </li></ul></ul></ul>
    22. 22. info@ecca-london.org / www.ecca-london.org real action <ul><li>Developing Funding or </li></ul><ul><li>Sponsorship proposals </li></ul><ul><li>Similar to a business plan (template distributed) </li></ul><ul><li>Customise your proposal </li></ul><ul><li>Submission & disbursement deadlines </li></ul><ul><li>Be professional </li></ul><ul><li>Follow up, not harass! </li></ul>
    23. 23. info@ecca-london.org / www.ecca-london.org Reviewing <ul><li>Outcomes and outputs of project/event </li></ul><ul><li>Financial report </li></ul><ul><li>Future plans </li></ul>
    24. 24. info@ecca-london.org / www.ecca-london.org ideas
    25. 25. Any questions? Book a 1:1 session with ECCA / you can also email me at [email_address]
    26. 26. • www.funderfinder.org.uk Funding portal (free access at Learning Zone @High Holborn) • www.creative-choices.co.uk/find-funding/1099/ Creative choices funding portal • www.uksponsorship.com Aims to link sponsors with organisations seeking funding in various fields, including the arts • www.fundraising.co.uk A resource for UK charity and non-profit fundraisers. • www.guidestar.org.uk A comprehensive guide on UK charities • www.access-funds.co.uk Contains details of organisations and funding opportunities. info@ecca-london.org / www.ecca-london.org useful links
    27. 27. • www.artquest.org.uk/money/writing-applications.htm Artquest – one-stop resource for visual artists • www.unltd.org.uk UnLtd – a charity that support social enterprises (templates available for downloading) • www.artsandbusiness.org.uk/ Arts & Business sparks new partnerships between commerce and culture • www.j4bgrants.co.uk/Default.aspx Listing of funding organisation for small businesses • www.governmentfunding.org.uk Online portal to grants for the voluntary and community sector for the following funders • www.grantnet.com Grantnet is a user-friendly search engine info@ecca-london.org / www.ecca-london.org useful links