Strategies for Fundraising

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Strate ies for

Fundraising.


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Strategies for FundraisingDr Rohini Dandavate

April 2008

In the current rapidly changing times, attracting sponsors and drawing

audiences to arts events is becoming very challenging due to growing

competition from increasing numbers of arts organizations, diverse

arts events and other options of entertainment. In addition, a change

in the economic, political, and demographic situation in a country has

its share of effects on the funding decisions of individuals,

government and non-government organizations. For example, a

country in war tends to divert funds to war expenses resulting in cuts

in funding to the arts sector. When a nations economy is in a

recession both corporate and individual giving decreases.

Demographic shifts lead to lesser arts attendance either due to lack

of disposable income and leisure time or due to language barriers

and unfamiliarity to the art form. In order to face these changes and

challenges in acquiring consistent long term funding artists and arts

organizations are required to think of new ways and new sources. In

order to maximize the possibilities of receiving consistent funding

support, artists and arts organizations have to employ methods of

data gathering on the giving patterns of funding agencies, understand

audience demographics and preferences, and use managementsystems to budget, plan, and strategize. This paper aims to suggest

ways that can enhance opportunities in raising funds for sustaining

the arts.


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A fundraising campaign is not a single event. In fact, a successful

fund-raising campaign never ends(1999,Byrnes, W.) requiring

ongoing information dissemination and constant networking. It

involves engaging prospective donors in the process of planning and

execution of programs. Drawing from literature in the area of

fundraising and marketing I have compiled strategies that can be

employed by artists and arts organizations in planning and

strategizing for fundraising campaigns. This list of strategies isnot

exhaustive but is an effort towards suggesting ways that can help in

making the process of fundraising effective. The proposed strategies

are as follows:

- Define the goal of the organization, describe thedirection/activities that would be employed to achieve the goal

and the target amount of money required

- Identify the sources (government, foundation, corporate, andindividual) and the goals of their giving

- Recognize the needs of the community.- Plan activities/projects that match the goals of the funding

agency and address the needs of the community.

- Expand your reach through collaborations, and partnerships.- Define a marketing strategy and target prospects.

Goal Setting

Outlining organizational goals and drawing a budget is fundamental in

the process of planning a fundraising campaign. The mission


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statement of an organization is like a road map, which illustrates the

destination, the path and a timeline. Defining what the organization

plans to do, how, why and the target amount required to reach the

goals is the first step in planning a fund raising campaign.

Until recently arts organizations strived to preserve, promote and

propagate the arts. Patrons provided support to this mission and also

to encourage arts organizations in producing quality art and artists. In

the present times, artists and arts organizations have an added

obligation of creating public value. To ensure funding, artists are

required to design creative activities that enhance educational,

economic and social value for people in the community. Artistic

endeavors, besides providing an aesthetic experience, should aim to

inform, educate and aid in developing human capabilities. Therefore,

to be successful in attracting sponsors, artists and arts organizations

need to integrate this provision into their mission.

Sources of Funding

Individuals, corporations, government agencies and foundations, are

essentially the funding agencies for the arts. Individual philanthropists

donate money to causes they care about and also to benefit from the

tax advantages. Corporations use philanthropic giving as a way to

gain social benefit along with other business benefits. They take into

consideration the social and political trends and the needs of the

community while designing the focus of their corporate philanthropy

programs in order to bring their brand name to the forefront. For


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example, the Asian Festival organized by the Asian communities in

Columbus, Ohio during the Memorial Day weekend is supported by a

variety of corporations including banks, restaurants, grocery chains

and media groups. This event has received funding consistently over

the years because the festival contributes to building cultural

awareness among people. The festival inspires, mobilizes, and

connects the participating minority groups, besides improving

community capacity and infrastructure in the area of health. Since its

inception in the year 1994, the festival has contributed to an

increased awareness of Asian art and culture. This is visible in the:

rise in the number of Asian restaurants in the past 10-12years

introduction of Asian food aisles in national grocerychains.

presentation of Asian cultural immersion programs inschools

opening of Henna parlors proliferation of yoga schools and alternative medicine

clinics

growing interest in Asian music and dance forums developing awareness of Asian textiles and fashion

trends

These effects of the Asian festival clearly demonstrate how art is

effective in building cultural awareness and understanding among


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people in multicultural communities. Keeping in view the current need

for maintaining cohesion and peace among diverse people in

multicultural communities, corporations continue to provide financial

support to the festival.

Foundations are the other source of funding besides corporations.

They are non-governmental, nonprofit organizations that award

grants to other nonprofit organizations, which focus upon issues of

education, religion, social services and environment. In order to

increase their eligibilityfor financial support sometimes individuals

choose to partner with a nonprofit organization or appoint a non-profit

organization as the fiscal sponsor who receives and administers their

grant funds. Governments allocated funds also demand data that

indicate the social and economic impact. It becomes clear that in

order to make a case for long-term support and instill a sense of trust

and confidence in the minds of the donors, artistic endeavors should

keep in view both the trends and patterns of giving of the funding

agencies and the needs of the community while designing programs

and activities.

Needs of the community and audience aspirations

The other way of collecting funds is by generating revenue through

ticket sales. To design a presentation, which would draw greater

appeal, artists and arts organization have to recognize the kind of

experience the audience is seeking. Gilmore and Pine, Consultants

and authors of the book, Authenticity and The Experience Economy


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write, what (consumers) buy must reflect who they are and who they

aspire to be in relation to how they perceive the world. These

scholars profess that consumers buy an experience or a product that

echoes their feelings, values or beliefs. Similarly, audiences will

choose an arts event over the other options when the experience

offered is something they can relate to and find meaning in. Being

responsive is the key to attracting both the audience and the sponsor.

It requires researching the demographic composition of the

community, understanding peoples shared values and beliefs and

producing work that can be meaningfulto them.

One of the most fitting examples in this context of discussion is the

Broadway production, The Lion King. This show weaves together art

forms from Africa, America, Indonesia and India, to name a few, in

the most innovative format of presentation. It creates an experience

to which people with different cultural backgrounds can relate. In the

background of increasing numbers of multicultural communities, the

costumes, masks, music, the different elements of shadow puppetry,

movement and body language, the vibrant colors, come together to

help audiences understand, appreciate and enjoy a variety of artistic

expressions from different cultural traditions of the world. The use of

diverse art forms brings a novel experience, which brings to the

forefront various cultural representations and instills a sense of pride

in the minds of people representing cultures from which these art

forms are borrowed. Inferring from the success of the production, The


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Lion Kingit can be said that being sensitive to the needs of the

people boosts audience turnout resulting in enhanced ticket sales.

Innovative Approaches

The production, The Lion Kingis also a good example of product

development. Julie Taymors knowledge of Asian art expressions and

her usage of those art forms add an innovative dimension to the

performance. Additionally, the inclusion of a multicultural cast

enhanced performance support. Taymors sensitive perception in

feeling, movement and interpretation presented through the skilled

performances of the dancers, the sets, costumes and masks is

innovation at its best. Another example of success through innovation

is Peter Brooks rendition of Mahabharata, the famous Indian epic.

The production was originally staged in an abandoned quarry outside

of Avignon, with a cast that included actors from 18 different

countries. This production awed audiences worldwide. Although

Brooks use of global cast received criticism in India it makes an

appropriate example to demonstrate experimentation and innovation.

The unconventional setting (the quarry) of the play, the multinational

characters, unconventional costumes and the use of English make

the presentation unique. Speaking about his multinational cast Brooks

explains, the many nationalities are trying to bring something of

their own. In this way, we are trying to celebrate but which carries

echoes for all mankind". Peter Brooks, in his production on

Mahabharataset a precedent for other theatre groups to present this

Indian Epic in many other languages.


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In both the productions, The Lion Kingand The Mahabharata, the

directors innovate by infusing new elements in presentation. Using

diverse cultural expressions, dancers, and actors made the

productions meaningful universally. In the words of the African

American writer, William Plomer, creativity is the power to connect

the seemingly unconnected. Both Taymor and Brooks, the creative

masterminds behind the productions, directed, designed and skillfully

connected the seemingly unconnected, making the productions box

office hits.

Collaborations and Partnerships

The other emerging trend for ensuring success in fundraising is

through collaborations and partnerships. Learning from models of

collaboration in businesses, it is observed that combined efforts add

expertise, experience, insights and a sense of co-ownership, which

can lead to increasing revenue. For example when Macy s, the

departmental store or Barnes and Noble, the bookstore chain

partnered with Starbucks, both companies benefited in their sales.

While easy access to coffee during shopping becomes an incentive

for consumers to continue to shop for longer time, people visiting the

bookstore enjoy the experience of glancing through books with a cup

of coffee. Similarly, partnering in the arts can enhance infrastructural,

artistic and monetary resources. The success of the Asian Festivalin

receiving long term funding support can be attributed to the

collaborative efforts of the various Asian community groups. The


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success in the Box Office collection for the productions The Lion King

and Mahabharatais due to cross-cultural collaboration.

Another similar success story in organizational collaborations is the

Barbican Center in London. Over the 25 years of its existence, the

Barbican Centre has developed relationships with diverse and

prestigious range of partners and associates, namely, The London

Symphony Orchestra (LSO) the resident orchestra, the BBC

Symphony Orchestra (BBC SO), Serious, one of Britains leading

producers of live jazz, world, and roots music, Michael Clark

Company and Cheek by Jowl and Beast Dance Theatre. Partnerships

opened new opportunities for these individual companies to create

innovative body of works, advance programming abilities, draw large

audiences and above all continue to be supported by the City of

London Corporation as part of its contribution to the cultural life of

London and the nation. Alliances and cooperation is their key to

success.

Creating a Marketing strategy

Finally, the other most important facet of fundraising is developing a

marketing plan, which defines the strategies for pricing, promotions,

advertisements and sales. It is imperative for artists and arts

organizations to maintain visibility in the community through a multi-

channel communication and information system which includes: Face

to face meetings, advertisements, attention grabbing flyers and

brochures, personal web mail, website information, newsletters,


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special fundraiser shows, distribution of press kits, letters and

telephone solicitations. Also developing contacts with officials of

funding agencies and networking with people from different media

contributes in creating a presence. These methods of advertisement

help in projecting organizational growth and stability.

To expound further on the idea of creating visibility I would like to

quote the example of Mr Babulal Doshi, the founder of Kala Vikash

Kendra, the College of Indian Dance and Music in Orissa, India. As a

young student of dance in the institution I remember observing Mr.

Babulal Doshis fund raising strategies. He made regular visits to

potential individual donors, invited people from the media and press

for every event, maintained relations with officials of government

bodies; and organized fundraiser presentations for corporations in

different cities in India. His fund raising campaign started in 1952,

when KalaVikash Kendra was first established and continued until his

death in 1986. His efforts in fundraising truly proved that a

successful fundraising campaign never ends.

This example demonstrates the extent to which officials in arts

organizations and artists need to work to be able to receive long term

funding for the arts. As Prof G.T. Smith writes Donors dont give to

institutions. They invest in ideas and people in whom they believe.

People donated money for Kala Vikash Kendra because Mr. Doshi

had the capacity to build public relations, maintain consistent visibility

and gain their trust and confidence. His dedication and passion to


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promote the arts of Orissa reflected in his efforts. Fundraising is

arduous and time consuming but employing these strategies can

facilitate fund seekers in creating a tangible, transparent, concise and

compelling fund raising appeal.

References:

Byrnes William, (1999). Management and the Arts, Boston. Focal

Press.

Dreeszen Craig & Korza Pam (Eds.), (1987). Fundamentals of Local

Arts Management, Amherst, MA. Arts Extension Service

Reiss Alvin, (1995). Dont Applaud: Send Money. New York. Theatre

Communications Group, Inc.

Stolper Carlyn L. & Hopkins Karen Brooks, (1989). Phoenix, AZ.

Oryx Press.

Chong Derrick, (2002). Arts Management. New York, Routledge.

http://www.hinduismtoday.com/archives/1990/10/1990-10-02.shtml

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Strategies for Fundraising