6.1.3 Funding
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This document discusses funding sources for three festivals: Notting Hill Carnival, Thames Festival, and Spitalfields Music Festival. It provides a table comparing the public funding and business sponsorship for each festival. It then prompts the student to compare and contrast the festivals in terms of funding, programming, target audiences, and artistic policies. It notes that nearly all the festivals receive funding from the Arts Council and suggests ways they are similar and different.
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6.1.3 funding
The document discusses funding sources for three different festivals:
1) The Three Choirs Festival receives funding from public fundraising efforts like talks, concerts and plant sales as well as grants from local arts councils and businesses. Festival members can contribute directly.
2) A community fun day receives funding from face painting, game sales and donations from local housing organizations and businesses.
3) The London Festival of Stamps gets support from large corporations like Royal Mail and The British Museum.
All three festivals receive business sponsorship, but smaller local events rely more on public fundraising while larger ones get significant corporate backing.
2012 april bp governance
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6.1.3
The document summarizes the funding sources for several festivals. The V Festival receives business sponsorship from Virgin Media but no public funding. The Glastonbury Festival receives no public funding or business sponsorship. The Baishakhi Mela receives public funding from several local organizations and businesses, including Tower Hamlets and RichMix. The Thames Festival receives public funding from Arts Council England and the City of London, as well as business sponsorship from several companies.
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This document discusses funding sources for three different festivals: Lady Fest Ten, the Edinburgh International Festival, and Chinese New Year. Lady Fest Ten receives donations and has business partnerships. The Edinburgh International Festival gets funding from ticket sales, donations, and sponsorships, including from the City of Edinburgh Council and the Scottish Arts Council. Chinese New Year is traditionally self-funded as it is celebrated around the world by individuals decorating their homes. The document notes that the festivals differ in their funding sources, with the religious Chinese New Year festival being self-funded while the others receive donations or have business sponsors.
Funding Presentation: Regional Arts Development Fund
The document provides information about the Regional Arts Development Fund (RADF) including:
1) RADF is a partnership between the Queensland state government and local councils that provides funding for short-term arts, cultural and heritage projects.
2) Individual artists, arts workers and community groups located in or benefiting the council area can apply for funding across eight categories including skills development, community projects, and cultural tourism.
3) The document outlines the application process and requirements, examples of successful projects, and frequently asked questions about RADF grants.
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The document summarizes a discussion about developing arts and culture in Manchester, NH. It identifies strengths like diverse cultural attractions and challenges like weak branding. Recommendations include building relationships between arts/business, developing a clear brand, and creating programs to attract new audiences. Priority next steps are to organize high-level leaders, communicate the economic impact of arts, and improve internal coordination among arts groups.
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6.1.3 funding
The document discusses funding sources for three different festivals:
1) The Three Choirs Festival receives funding from public fundraising efforts like talks, concerts and plant sales as well as grants from local arts councils and businesses. Festival members can contribute directly.
2) A community fun day receives funding from face painting, game sales and donations from local housing organizations and businesses.
3) The London Festival of Stamps gets support from large corporations like Royal Mail and The British Museum.
All three festivals receive business sponsorship, but smaller local events rely more on public fundraising while larger ones get significant corporate backing.
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This document outlines the itinerary and program for a study visit by three participants from Uganda (Wycliffe Birungi, Ricky Asiimwe, and Irene Apio) to Poland and the United Kingdom. The objectives of the visit were to gain insight into the social enterprise sectors in Poland and the UK and explore models for social integration centers in Uganda. The itinerary included attending a social entrepreneurship fair in Poznan, Poland, visiting social enterprises and cooperatives, and shadowing leaders of social enterprises in the UK. The visit was coordinated by Chara Trust and included accommodations, translators, and programming to meet the objectives of developing understanding of social integration center models.
6.1.3
The document summarizes the funding sources for several festivals. The V Festival receives business sponsorship from Virgin Media but no public funding. The Glastonbury Festival receives no public funding or business sponsorship. The Baishakhi Mela receives public funding from several local organizations and businesses, including Tower Hamlets and RichMix. The Thames Festival receives public funding from Arts Council England and the City of London, as well as business sponsorship from several companies.
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This document discusses funding sources for three different festivals: Lady Fest Ten, the Edinburgh International Festival, and Chinese New Year. Lady Fest Ten receives donations and has business partnerships. The Edinburgh International Festival gets funding from ticket sales, donations, and sponsorships, including from the City of Edinburgh Council and the Scottish Arts Council. Chinese New Year is traditionally self-funded as it is celebrated around the world by individuals decorating their homes. The document notes that the festivals differ in their funding sources, with the religious Chinese New Year festival being self-funded while the others receive donations or have business sponsors.
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The document provides information about the Regional Arts Development Fund (RADF) including:
1) RADF is a partnership between the Queensland state government and local councils that provides funding for short-term arts, cultural and heritage projects.
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The document summarizes a discussion about developing arts and culture in Manchester, NH. It identifies strengths like diverse cultural attractions and challenges like weak branding. Recommendations include building relationships between arts/business, developing a clear brand, and creating programs to attract new audiences. Priority next steps are to organize high-level leaders, communicate the economic impact of arts, and improve internal coordination among arts groups.
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The document discusses the ideas, opportunities, threats, strengths, and weaknesses of a higher project. The main budget and travel costs to venues far away are threats. Opportunities include taking a photography workshop to improve skills and interviewing an experienced model. Strengths are a passion for fashion and understanding the teenage target audience. Weaknesses are not being good at taking professional photographs, but a plan to learn and improve through experimentation.
Auditionposter 110516101336-phpapp01
This document appears to be a random string of numbers without any context or meaning. It does not contain enough information to generate a meaningful 3 sentence summary.
4.2.4
The document provides a checklist for students to consider when making a record as part of their coursework. It lists the key factors students should consider, including the materials and resources needed, the time available, costs, any legal or ethical issues, and how the group will communicate. Having the proper resources, setting a deadline, addressing copyright, and coordinating communication are essential to ensuring the successful production of the student record.
4.2.3m
The document provides information for recording ideas for a music video production project. It includes a mind map diagram outlining potential ideas such as including animations, choosing song options from the 1980s, and developing a rough story plan about a girl celebrating her birthday with friends by going out to various London locations. It also discusses the target audience for the music video as being between ages 8 to 30 who enjoy dancing, partying, or having fun and access music videos online.
4.2.2
This document provides examples of records that have inspired the student, including:
1. The 2010 music video "Check It Out" by Will.I.Am and Nicki Minaj, which samples the 1979 song "Video Killed the Radio Star" and features futuristic graphics and dancing clones.
2. The 2008 science fiction film "Jumper" based on the novel, directed by Doug Liman, about protagonists who can teleport, featuring over 100 jumps created using visual effects software.
3. A 1938 black-and-white photograph of New York City financial district rooftops by American photographer Berenice Abbott, showing 1930s urban architecture.
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