Welcome toFundraising forArts Institutions

& Festivals

ZIFF 2001

ZIFF 2001

ZIFF 2001

ZIFF 2001

A division of Linear Velocity

Linear Velocity - ArtsXchange Workshops

-Sound Reinforcement-Theatrical Lighting Design-Video Engineering-Music Composition for Film-Dance/performance art

Technical Perspectives from our festival in

Zanzibar

Policy asConversation.

Co-opetition.Why it matters.

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?

I spent my early childhood living withmy old aunt in the suburbs of Jacmel. Iattended elementary school there until5th 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, mydad 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 hungerfor knowledge is finally being satisfied.Filmmaking is thrilling. I am already aproud 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

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, theharmonious 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 mycommunity 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 knownthroughout the world.

My family and friends will be proud of me.

KEZIAH JEAN 23

Civic Engagement in the Arts

Defined as the personal or collective actionto create positive impact in the community.

4 - C Model of Civic Engagementin 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.

Fundraising Market

Four Potential Markets for Money1. Foundations2. Corporations3. Government4. Individuals

Why do Foundations Give?

• To build organizational capacities.• To benefit the community.• To build on institutions that are permanent.• To be involved in unique organizations which make them look good.• To leverage their contributions so others will become involved.

Why do Corporations Give?

• Corporations don’t give. They invest in business opportunities.• To seek community well being.• To build a positive image for the company.• To gain exposure to a consumer audience.• To gain acceptance in a community.• To display a social consciousness to the public.

Why do Individuals Give?

• Because they are asked.• They believe in the org and want to make a positive impact.• They want to be remembered and leave a legacy.• Tax Benefits.• They give because they enjoy it.

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.

Organizational Structure

•Board of Directors•Senior management staff

•Program director•Managing director•Development director•Finance/business director•Marketing director

•Support staff•Volunteers

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.

Long Range Plan Includes:

• A statement of mission.• Internal strengths and weaknesses.• Goals.• Objectives and tasks.• Evaluation processes.• Other information – Staff and board responsibilities,

description of operations, facilities, arts programs,and financial position.

Steps in Long Term Planning

Board and Staff must have a Mission and Vision statement.

• What are the services and programs of the organization?• Who are the services or programs intended?• Which geographic area is served by the programs?

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.

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.

Develop unique events which involve the community.

• Fun run, parades, educational workshops, literary readings, discussion groups, raffle dinners, events outside of your regular programs.

Website Links:

www.culturalpolicies.net

Research on cultural policies in the EU

www.culture-dev.eu

EU Conference on Culture & Creativity

Record Keeping, Transparency and Accountability

Database of potential and past donors

Record keeping of financial transactions.

Accountability for funds, and results of programs.

Thank your donors,individuals, participants,staff, volunteers, mediaand the community!

Create a community

www.linearvelocity.com

Thank you!