Fundraising Toolkit by African Arts Institute

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INTRODUCTION

This Arts Fundrafslng Toolkit Is one of a series of three developed to offer p ractical tools towards strengthening resources in civil society arts organisations throughout Africa. The other two are concerned with Marketing for the Arts and Advocacy and Networking for the Arts.

Together, these resources aim to contribute to the development of sustainable arts organisations and arts practice on the continent. By build ing capacity in organisations to collaborate, raise funds and market themselves, the toolkits will empower practitioners and organisations with relevant knowledge, contributed by arts practitioners themselves. These kits aim to contribute to this on-going process of building capacity by offering Information and case study examples drawn from contemporary African situations. Despite the diversity of political, economic and social contexts, there are many common challenges facing African cultural practitioners, to which varied solutions have been found. These toolkits offer some of these solutions In the spirit of sharing lessons learned and techniques successfully practiced.

The Arts Fundraising Toolkit p rovides information about when to fundraise, how to fundraise, what to fundraise for, who to fundraise to and what to do when funds are made available. The toolkit provides information and resources about fundraislng as well as templates and worksheets to assist arts organisations In the practice of fundraising. These toolkit tools and tips for fundraising support the cultural policy, marketing as well as networking, lobbying and advocacy of arts organisations and creative organisations within Africa. The sections cover developing the fundralslng idea, assessing readiness for fundraising, c larifying funding options, understanding the motivation of funders, developing narrative for the proposal, formulating a fund raising strategy and choosing funders.

Common mistakes In fundralslng are highlighted and, with the help of arts practitioners on the continent the toolkits aim to assist p ractitioners in learning from the mistakes and experiences of others. Where possible, examples are provided from a range of ARTerial Network country networks and Individual members who have contributed their time and energy to the process.

Critical to the fundralsing process is the allocation of sufficient time and energy to the preparation and research for completing your fundralsing proposal. Adequate preparation Is the key to success. The topics In this toolkit will guide you through this preparation. The Arts Advocacy and Networking Toolkit provides information about what networking, advocacy and lobbying for the arts is actually a ll about with examples of how collaboration can positively and professionally draw attention to those Issues that concern artists and cultural workers. Information on how to structure a network and develop a campaign of action Is supported with examples and tips for efficient p lanning and implementation. Samples of a constitution, a formal letter, a petition and a budget and action p lan for launching a campaign are a lso provided. Considerations about sustaining the network Include Issues of financial management as well as marketing and fundralsing. The Arts Marketing Toolkit explores different ways of building and retaining public identity for Individual artists and arts organisations. Arts marketing Is concerned with diverse and selective communication activities that link projects, products, services and arts organisations with new markets, while

maintaining relationships with established customers. Constructing a sustainable arts livelihood is about thoughtful perceptions of power relations In economic contexts, and being able to Implement choices In these environments - choices that live out sustainable arts practices and that feed financial, Individual life purpose and community goals. Case studies from various countries In Africa and different arts sectors are used to embed this marketing philosophy Into practical examples. Worksheets have been developed to encourage readers to participate and reflect on the toolkit Information with evidence from their own precise contexts. The Arts Fundraising Toolkit, The Arts Advocacy and Networking Toolkit and The Arts Marketing Toolkit are Interconnected threads of the same cloth. Marketing today Is often referred to as communication; networking is the essence of communication practice and fundraislng is successful because of clear and purposeful Identity building for all partners concerned.

Used together, it Is hoped that these kits will be the sparks that will Ignite further Ideas and Increase confidence as the creative sectors realise their potential as life-giving and life-changing forces In all of our societies.

Do you need this toolkit?

• • • •

Do you Do you Do you Do you

know the context of fundraising for the arts in Africa? know how to draft a fundraising proposal? have a fundraising strategy? have a database of funders?

If you answered no to any of the above, then this toolkit could be very useful to you or your organisation.

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arts In their own right and which In terms of helping a community to come to terms with its existence and challenges, is p robably more necessary and important. Article 27 affirms the right of everyone freely to partic ipate In the cultural life of the community and to enjoy the arts - not because of their economic or instrumental value, but because they have value in their own right and for the psychological, emotional and spiritual well-being of the members of the community.

Once you have clarity as to where your Idea/ project or event fa lls in this continuum, you will be in a better position to choose your 'buyer' (the Funder). There are many kinds of funders and most of them focus on one aspect of this arts continuum. You can match your fundraislng efforts to the stated objectives of donors In a way that at least gets you a foot into the door.

TooL.. The Arts Continuum and Types of Funders

Art for social development

Art for personal catharsis, human development and for Its own sake • Public funding agencies like national arts counc ils • Private sector companies (their marketing departments) • Individual arts patrons • Foreign embassies or cultural institutions e.g. Brttish Council. French Institute. Goethe Institute • International arts/corporate foundations

• Notional Government departments like Health. Welfare. Environment. etc. keen on communicating particular messages • Provinc ial/regional and local government agencies • International/local development agencies • Private sector companies (their Corporate Social Investment departments) • Educational institutions

Art for economic development • International development/aid agencies engaged In ·culture and development" • International cultural agenc ies engaged in cultural diversity e.g. UNESCO and Its Fund for Cultural Diversity • ForeQ'l govemments providing aid to cOLntries in the globd south • Private sector companies aligned to the c reative sector • National provincial and local Govemment departments e.g . tourism. economic development • International creative enterprises seeking partners in Africa • Micro-finance institutions • Financial institutions established to promote micro-entrepreneurs

2 - ARTS FUNDRAISING TOOLKIT

In all of these cases, It Is necessary to know their particular interests, which often change depending on overall political or economic conditions. The ultimate goal of fund raising Is to find a match between your idea, project, event or organisation and the Institution, agency, or individual with the resources that you need. In this toolkit you will find further information about the Interests of the different funders.

1.3. The Art Fundraising Toolkit Sections This Art Fundraising Toolkit takes you and your organisation through the entire process

of fundralsing from understanding the context of fundraising both from the funders and the developing countries in Section 2, deciding on your big idea, project or event and checking whether you are ready for funding as an organisation in Section 3. In Section 4 you are guided in developing your proposal. The development of your fundralsing strategy is outlined in Section 5 so that your proposal appropriately matches where you fall in the arts continuum to the type of funder you are targeting. Finally, Section 6 provides you with a guide about how to choose your funder and how to meet their expectations.

,--路~-- Case Stud~路路路 '--__.

The Establishment of ARTerial Network

ARTerial Network was established as a result of a conference on Goree Island in 2007, dUring which factors inhibiting the cultural development of the continent were debated and identified by a group of cultural operators and concerned funders. The resulting conference report offered an analysis of the Situation as well as suggestions for ways to positively address the major themes of economic sustainability, arts management and capacity building, co-operation and exchange, and lobbying and organisational building. A task team was elected to devise a programme of interventions and launch a network that would drive these activities. These preparatory activities were initially funded by a collaboration of supporters including Hivos, the Danish Centre for Culture and Development, the Str0mme Foundation, Stichtung Doen and the Prins Claus Fond. The network was housed first by the Africa Centre in Cape Town, South Africa with a small secretariat and eventually was taken under the wing of the African Arts Institute in 2008. A jOint-funding partnership between Hivos and the African Arts Institute secured substantial funding from the European Union to more fully develop a cohesive programme of activities to be undertaken across Africa.

ARTS FUNDRAISING TOOLKIT- 3

The second meeting of the network tool::. ptace irl 200'}, at which a constitution was

a governing bod!:j (The Steering Committee) drawn from members and the appOintment of a secretariat Gldapted that formalised the network and allowed for the electiOn of

that would undertake the da!:j-to-da~ tasks of running the network and implementing projects and activities towards achieving the variOUS goats identifted b~ the constituency.

The Vision of ARTerial Network iS "of civil

societ~

a vibrant, d~amic and sustainable African creative

sector engaged in qualitative practice in the arts in their own right, as well

as in a manner that contributes to development, to human rights at"ld democrac~. Gll'ld to the eradicatiOn of povert~ on the African continent."

Their Aims are given in the context of the conditions on the Africal'l cClrltinent, ART erial's vision and understanding of development and the cultural dimension of develapment, as follows:

To build OÂŤJ./or further develap effective, sustGiinGib!e not:i<:)r)al. regiOnal and cClrltinental networks within and across arts diSCiplines. To pia~ Gldvocac~ and lobb!:jirlg roles within countries, regiOt'\s, Drl the contirlent and iflternotionall!:j as appropriate, and in support of the African creative sector. To collect and diStribute relevant irlformatiDrl. data and documel'\tS to empower civil societ!:j arts and culture organisations in African cot.mtries and regions to plan and take informed action in their interests. To provoke debate, discussions and theoriSing around arts. culture, creative induStries and

COI'ltemporar~

arts and culture discourses and to develop African positions and

leadership 01'1 such iSsues. To help to bu~d national, regional, continental and internotiClrlal circuits (festivals, outlets. etc) to diStribute Africal'l cultural goods and services and enable African artists to tour their works and to generate income through their creative output. To facilitate the training and development of human resources required to practice, distribute and market the arts and creative goocts and services of the African cClrltinent To mobilise local, reg;onot. continental and internatiOnal resources in support of the develapment, promotion and diStribution of African creative goocts and services. To improve the working and living conditions, and defend the rights of artists and creative practitioners on the African continent.

More details Drl the activities and projects of ARTerial can be foul'\d on their website www.arterialnetworl::..org but iS important to understand how ART erial Network defined Itself af\d located itself in the arts contil'lUum and who it thel'\ approached for funding.

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One of ARTenol's specific objectives is to bu~d regtonoll~ polic~

o strOt'lg network of notionoll~ ond

operoting culturot orgonisotiOnS in Afriw oble ond copabte to pr omote cutturol

development, reolisotion ond exchonge of culturol productions within Africa ond

between Africo ond Europe. This wo.s identified o.s o. result of their environmentol onol~sis

which reveoled cleorty thot there ore few diScipline-bosed or multi-diSciplinor~

ortist unions. networks or ossociotions in Africo thot could lobby on behotf of ortists, serve os conduits for informotion. link ortists in Afriw to their counterports in Europe ond elsewhere ond serve os networks between culturol octors ot o notionol, regionol ond continento( level.

Building effective, sustoinoble notionol ot'\d regionol culturol networks will contribute to helping to lobb~ for and monitor the implementotion of notionol policies to support the creotion ond sustainobt1it~ of creotive industries in Africo; develOping CGipOCit~ to fGiditate interrotionol culturol exchange. inCluding the diStributiOn of African creotive prOducts gtobo!ly; estobliShr19 partnerships between civ~ societ~ culturol actors in Africa and tn Europe to reoltSe projects Glimed at sk~ls tronsfer ond the development of hur'rlt1n resources, the growth of reqUiSite infr astructure and openil'19 up of cutturol markets. portieult1rl~ for goocts ond services from Afriw; ond assisting in the gothering ond distribution of relevont information.

The mojor benefits of hovit'\g these kinds of fur1ctionol r1etworks will be thot ortists in those countries will hove o notiOI'\Ol bOdy to represent their ir1terests. Governments will hove represer1totive civil society structures to engoge orour1d issues of polic~. The 11'\ternotionol commur1ity will hove legitimate, representative bOdies to lioise with Md work through. By hoving bodies to tobb~ on beholf of o.rtists. cultural polic~ con be deviSed, omended, implemented and will then hove brOOder benefits for ortists ond for the public ot Iorge. Trained leadership from within avn societ~ will provide training to others ond so build wtder leaderShf>. Ova societ~ leaders mo~ eventuolly be recruited tnto government where the~

could pto~ o wider, inftuentiol rOle. thus necessitoting this ~on-Site" civil societ~

tro.intng of new

la~ers

of leadership.

It is one of the aims of ARTerial thot b~ the end of 2012. there should be ot least 25 strOt'lg. effective. susto.inoble o.rtists' networks in Afriw, at regionol ot'\d/or countr~ levels. There should olso be one continental ot'\d four regionol secretoriots which ore sustait'1ed ond oble to er1sure 01'1-going octivities in line with the rest of ARTeriol's oims.

ARTS FUNDRAISING TOOLKIT- 5

AR. T erial Network iS therefore a uni<1ue example of being both a network with a lobb~ agel')da, as well as a network that includes the establishment of networks as a central mechanism for achieving their objectives.

In the last few ~ears. ARTerial Network has completed a number of projects all of which required funding: Compiled and diStributed month!~ newsletters in English and French sharing news relevant to Africa's creative sector. Launched www.artSinafrica.com to provide Information about the arts in African countries. Hosted two 10-da~ "winter schools". each time training activists from 17 African countries in building sustainable artists' networks. Established a cultural polic~ task team to devise a cultural polic~ framework for African countrieS based on international and African cultural potic~ instruments. Fac,[itated the participation of African artists al')d cultural act,vists in numerous international ()l')d regional conferences. workshops. training sess,ons. etc. ART erial Network iS in the process of: Devising tOOlkits on arts marketing. arts actvocac~ ful')draising al')d a director~ of informatiOn about the arts on the continent. EstabliShing Clt"' African ful')d tor Arts al')d Culture transcel')ding national boundaries. Hosting regular seminars and preparing papers to inform its members about themes !ike culture al')d development. climate change Clt"'d the arts. the creative induStries. etc. Catai~Sing

a range of networks including festivals. creative cities. business sponsors

of the arts. etc to further Ia~ the basis for advancing the creative sector. Source: Adapted from information compiled for The Arts Advocac~ and Networking Toolkit.

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2. UNDERSTANDING THE ARTS FUNDRAISING CONTEXT 2. 1. International Trends in Arts Fundraising Arts fundralslng Is a fluid process that changes over time and Is deeply Influenced by the socio-economic context and what Is happening In the arts sector. Arts organisations and artists need to keep themselves informed of the changes that are occurring In the fundralslng landscape to maximise their funding opportunities. A number of trends have been highlighted by the Funding Diversification Pilot report of the Charities Information Bureau (2006) which has a bearing on arts organisations In Africa. First Is the Importance of having multiple funding streams from a range of different sources. Increasingly organisations recognise the need to lessen their dependence on donors and their grants by developing a mix of funding options. Included In this, for Instance, Is income generating activities such as charging fees for work or hiring out spaces. Second Is the move from being good at "doing" to becoming good at "getting it

8 - ARTS FUNDRAISING TOOLKIT

done". This move, from doing to managing, requires arts organisations to develop stronger management and leadership skills and capacity. Third Is to focus on market trends; so that in reality we find a shift In doing good works to doing good business. While this Is clearly not a problem for creative businesses that operate on commercial lines, this is a real challenge for arts organisations working In communities or reliant on funding. Arts organisations are increasingly being asked to look at market needs above community needs which may change the understanding of who the 'customer' Is. Fourth is the fact that government procurement spend can be used to ensure more benefits to funded organisations. Just as In South Africa where black-owned businesses that are well managed and have good governance are privileged In government procurement, so arts organisations that can deliver some of the sociaL economic and environmental services that government requires can access resources in this way and so be part of this important funding pipeline.

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What arts organisations need to do

The Network for 6ood Learning Centre has identified two trends that will affect fundrGiiSing in the immediate future that we believe will impact on African based arts organisations. First iS that Gl greater number of grants will have a smaller average grant Siz.e and second will be Gl reluctance to support new causes. This points again to the need to diversify funding sources, to develop relationships with fr\Giny donors and to collaborate and partner with established arts organisations and credible groups to avoid the image of first time requests. The view from ART erial Network members in Africa shows that there are that are specific to the continent=

a number of trends

Most goverrvnents are not~ arts organiSGitiOnS or projects other than for natiOroGII heritage. lnterV\GitiOV\GII donors based in countries can be quite specific about the outcomes required for arts projects. inSiSting that there iS a link to socio-economic needs such as education. HIV/AidS, health matters and domestic violence. In other words, the funding iS largely linked to the instrumentaliSGition of the arts for some sociall~ worthy end. There iS alack of fundrGiiSing abilit!j. competence and knowledge in arts organisations. There are few if any resources (fit'\Gincial. expertise, databases) to assist arts organisations in fundrGiiSing. The necessary consequences of these trends are that arts organisations will have to be more creative when it comes to raising funds, be a great deal more professional in the manG~gement Glnd implementatiOn of grant projects Glnd ensure that Gldequate fundro.ising Glnd arts fr\GinG~gement competencies are developed in their organisations.

2.2. Impact of the Global Economic Crisis on Fundraising Despite the general g rowth of the world economy in the last ten years. since 2008 most economics have experienced recessions. This has had a major impact on funders' budgets. expected outcomes and choice of projects. There Is not as much money as there has been in past for funding development and charitable causes.

A suNey done by IFACCA on arts councils around the world found that while people are not sure of how big the impact will be in the long term. it is expected that 'the downturn will have strong negative impacts on sponsorships. philanthropic giving from foundations and endowment income revenue' (Madden. 2009:3). A global online suNey undertaken in 2008 showed that arts and culture would be the most negatively affected by the global economic crisis as can be seen

ARTS FUNDRAISING TOOLKIT- 9

by the graph below. This seems the result on the one hand, of the necrliberal paradigms of rising right wing European govemments and the actual loss of cash in the United States due to the recession on the other.

In the graph scores are multiplied by a weighted factor so that for example, "extremely severe" Is given a weighting of 5 and "relatively low" is given a weighting of l.

Figure 1: Impact of the Global Economic Crisis on Arts and Culture Funding.

Level of Impact - Weighted Response 0

100

150

200

250

300

Arts heritage and culture Inte rnational d evelopment Anima l welfare a nd rights Science a nd scientific research The environment Human rights Elders/older people causes Disability and d isability rights Education Health Fa ith based causes Medical research International emergency relief Children's c a uses All o f the above

Source: =me Global Fundraising Confidence Survey Report 2008 The c ircumsta nce of arts organisations and partic ularly community a rts practices and c ultural development in Europe are quite different from that in Africa since they have, to a large extent become integrated into public provision. It is not unusual to find community arts workers employed by local

10 - ARTS FUNDRAISING TOOLKIT

authorities or regular grants available to support the work of community artists. Both European Community Funding as well as Britain's National Arts Lottery has made the emergence of large community cultural development projects and arts organisations possible. These stable,

established organisations with long term projects are quite different then to the arts organisations and projects found on the African continent. The g lobal recession has already led to a decline in revenue from trusts and foundations by UK arts organisations with many organisations reporting in unpublished Arts Council England research that a greater effort was needed to maintain revenue streams. In the UK for example, £ 19 million was cut from the Arts Council of England's budget, and core arts institutions such as the Royal Opera House and the Royal Shakespeare Company have a lso had millions of pounds cut from their annual allocations (WSWS, 201 0). In 2009, research amongst large funding agencies published in Grantmakers in the Arts showed that across the board, funders are (Lawrence, 2009): • Instituting budget cuts across all programmes over multi-year planning horizons. • Redistributing budget cuts over multiyear funding commitments to try and lessen the Impact on arts organisations. • Honouring existing obligations and cutting down on new projects. • Completely rethinking and even discontinuing programmes.

The research further interrogated the characteristics of arts organisations that were adapting to the changed circumstances. Some of the core attributes of these organisations are: • Courageous leadership that is not afraid to question, change and reshape arts organisations and programmes. • Clear focus on core mission, vision, values and objectives. • Strong and clear mutual relationships with and commitment to beneficiary and or target communities. • Strategic thinking and ability to forecast changes and respond flexibility and nimbly to these. In other areas of the developed world there is evidence of arts practitioners desperately holding onto gains made In previous decades against the threat of conservative cultural policy such as in Australia while in other areas it depends on both the significance of sponsorship and philanthropy versus public funding and sales and ticketing. Clearly the country specific nature of government funding will also Influence the extent of the impact on arts organisations. IFACCA research conducted In 2009 suggests that the arts sector is not sure what the Impact of the global recession will be due to both its strengths and its weaknesses (Madden, 2009:8).

ARTS FUNDRAISING TOOLKIT- 11

Case Stud~路路路 Strengths and Weaknesses of the Arts Sector

STRENGTHS

WEAkNESSES

The~ are accustomed to working with

Countr~

limited budgets and are thus resilient during economic downturns

as a weak tradition of arts Sponsorship

Arts organisations are flexible and therefore able to respond to economic shocks quick!~ and effective!~

Exposure to government funding

The arts are experienced and sophiSticated lobb~ists and advocates, which will result in access to stimulus package funding

Lack of adequate reserves in arts orgeln.SGitiOr\s

Communit~

Lack of experience or sophiSticeltiOn in understelnding the econom~ (especielll~ in smellier arts orgelnisations)

artists have a!wa~ needed to be creative, resilient and resourceful and will continue to do so.

Md region specifiC iSsues such

Reduction in trade

ReliMce on endowments thelt helve lost vellue

How SignifiCant iS the funding clir'nelte? Communit!::j artists have Gl!wel~S needed to be creCltive. resilient elnd resourceful elnd wm continue to do so.

lncf,vid\Aal artists, arts or~satiOnS Cll'1d creative enterprises will need to foctor these treros 1nto their functrClising strategies (to be discussed in Section 5} Artists Cll'1d arts practitioners on the Africeln continent recognise that the!:! need to factor not onl!::j the interests of the 1nternationGI! elid agencies. donor functers and foreign embClsSies in their fundrClising strelteg~ but also their national contexts, the circumstances of their governments and the pClrticuiGir culture and econom!::l in which the!:! find themselves.

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A group of mothers In Nigeria (whose kids are a ll at the same school) for Instance, hold cooking and baking fundralslng campaigns each quarter to fund their gospel choir's touring programme.

• Internet Fundraising: Internet fundralslng Is contributing an Increasing percentage of the overall funding raised by non-profit groups In countries such as North America and Europe. In Africa, examples are few but It Is clear that exposure on Facebook Is beginning to open up this possibility. The fast changing digital world presents opportunities to arts organisations willing to embrace and maximise Its opportunities www.ngoplus.org/taxonomy /terI 12?page=3 • Community support I in kind assistance: from the community that will benefit from the project (the beneficiaries) as well as for in-kind assistance for work spaces, rehearsal spaces, food, equipment or transport. See the textbox on the Importance of volunteers In fund raising. It Is Important to remember that support can take many forms other than money! • Approaching grant makers: this Is focus of this toolkit where projects are packaged In clear proposals by organisations (NGO's, NPO's) or enterprises and grant makers or donors are asked to fund that project. • Corporate (commercial company) sponsors: In each country there may be commercial companies that see the Importance of supporting the arts or believe that their association with the arts w ill be good for business. This toolkit focuses on grant makers and corporate sponsors.

14 - ARTS FUNDRAISING TOOLKIT

.....

Advice ... The Importance of Volunteers

THE IMPoRTANCE OF VOLUNTEERS IN FUNDRAISIN6 Most orgar'tisations do not have SL.Ifficient staff to run fundn)iSing wmpoigns or do effective marketing and need to conSider volunteers, i.e. unpaid staff. Volunteers are not onl~ a useful resource for fundraising,

man~

organisations use volunteers to run basic office

administration or for one-off events such as concerts. performances, competitions and awards when extra expertise or capacit~ iS needed.

WHAT DO VOLUNTEERS DO? Volunteers CGit"' be involved in 1'\1()(\~ different aspects of the orgmsotiOrl from forming ~t

of the t'nGit"'GGget"nent coomttee or be~ on the reference group to dOit'"lg ~ Gldmit"'StratiOrl in Glt"' office or for a fundraiSing

shop/ s~. hosting fundrG\iSing events, ~ a c~.

getting the S!AppO't of local businesses, dOit'lg street colectiOriS, selt'lg raffle tickets, ~ a...r~ big events Md t'I'\Git"'~ more. Volunteers could dO basic research priOr to a functraiSing effort SL.~Ch as find out wnat other orgtnsatiOriS the funders have supported Md the process

of G\pflOCatiOriS Md reporting. The!:j could do desk research uSing the intemet or the telephone to asSist the organisation in some of the preparation work for a fW1dir1g appliwtiOn.

WHO VOLUNTEERS? People with a lot of time. People with little time but great interest in ~our causes. Older people who want to participate in communit!:j activities. Youth who enjo~ hanging out together dOing Similar activities. Peaple whose jobs are not fulfillin9 ma~ wish to be involved in arts and culture in their 'free' time. Professionals (accountants,law~ers, counsellors, bookkeepers, teachers, architects) who want to 'give something back' to the communit~ b~ offeriflg their services on boords, trusts, management cofM1ittees. Llrlempto~ed ~outh wanting work experience. fir'ldrng meaning in their da~ or wdting

be active Mel acquire new skills.

HOW TO REcRUIT VOLUNTEERS? It is important that volunteer jobs match the skills of the volunteers and most important!~. their interests. Volunteers should be recruited for specific jobs or projects from the

ARTS FUNDRAISING TOOLKIT- 15

I general communit~ in which ~r organisation works. At times there rna~ be reason to recr~.o~it

people with specific skills or people visiting f rom other cO\..Intries who wish to

contribl..lte to the work that ~ do. There needs to a job description G\1'\d a decision abo..it mane~. Vol~.o~nteers

need to know ~.o~p front what their d~.o~ties are. what times the~ need

to make available, who to liaise with d~.o~ring the work and what s~.o~ppart to expect. This s~.o~pport co~.o~ld

range from mentoring. dail~ meetings. to travel mane~ or l~.o~nch each da!f

Appliwnts need to fill in a basic appliCGition form getting their contact details. skills. interests and reason for vol~.o~nteering.lf the organiSation has Sl..lfficient capacit~. the project manager for that project wo~.o~ld benefit from interviewing the vol~.o~nteer. It ma~ be necessar~ to check ~o~.o~r local labo~.o~r laws to see whether vol~.o~nteering affects available ~.o~nemplo~ment benefits. Unmet expectations can ca~.o~se fr~.o~stration between the vol~.o~nteer and the organisation and it iS best that these are clarified in the beginning. This co~.o~ld take the form of a contract between the organisation and the volunteer setting o~.o~t the terms and conditions of the agreement. The contract shOI..IId ciGirif~ the proced~.o~re if there iS a grievat'\Ce and also how to termrote the agreemet'lt. HOW TO M.ANA6E VOLUNTEERS? Vol~.o~nteers need to be managed in much the vol~.o~t'lteers

that

the~

same wa~ as general empto~ees. Like interns.

can take ~.o~p preciOus time from the management team. need.ng guidCit'lCe in much

do as

the~

are t'lOt familiar with the orgat'lisation. An â&#x20AC;˘1'\duct.on process would be

helpf~.o~l so that the~ trul~ ~.o~l'\derstand ~our organisation and ~o~.o~r projects. You co~.o~ld

allocate them a member of staff to liaise with and to be their support at'ld need to assist

~01..1

it'l

yo~.o~r

work not be a drain on

~o~.o~r

g~.o~ide. The~

time. Ask the followit'lg q~.o~estions:

have I given them et'lo~.o~gh information abo~.o~t the project? Do they kt'low who to ask when the~

are ~.o~ns~.o~re? Am I givit'lg them ~.o~seful feedback? Do they feel appreciated in the

orgat'liSation? HOW TO SHOWCASE THE WORK OF THE VOLUNTEERS? B~ showing a willingt'less

to work with organisations. vol~.o~t'lteers are saying something very

importat'lt GlbOI..It that organisation. abo..it its value it'l the camm~.o~t'lit~ and the

enth~.o~Siasm

for 1ts work. ThiS can be ~.o~sed to s~.o~pport a f~.o~l'\draising ~ieation. The marketing material G\1'\d the f~.o~l'\draising doc~.o~met'ltation c01..1ld list the ~'lUmber of vol~.o~t'lteers and the M)O..It'lt of

tlfr\e the vd~.o~nteers have givet'l the organisatiOn. Y 01..1 CO\..IId disc~.o~ss how vd~.o~nteers enhance the services that the orgat'lisation offers. red\..lce costs. and assist in marketing Gll'\d in contribl..lting to the community in which

16 - ARTS FUNDRAISING TOOLKIT

orgat'liSation works.

2.5. The Continuum of Funding: Small Grants to Large Grants and from Community Based to Commercially Based. It Is Important to think about grant funding as a long journey and not just a visit to one destination. It Is very unlikely that a new arts organisation with no track record will receive large grants from a donor or grant maker. It Is important for new organisations to start small and learn from their experiences before taking on a large grant and responsibilities that they are not ready to handle. It takes years to build trust but only one bad project to break ItI

2.5.1. Small to Medium Grant Funding Mechanisms Small grants, from $5000 to $20000 are valuable to all organisations and artists and In particular to new, emerging arts and culture organisations, young artists and businesses. If associated with mentorlng, feedback and accountability. small grants can assist In the organisation's ability to

effectively realise Its objectives, plan for new projects and manage its future growth.

Medium grants, from $20000 - $200000 (depending on the country this may be considered a large grant) are extremely valuable especially for collaborative projects In more than one location or In more than one country as the example below shows. For example : Get $5000 for a marketing campaign, evaluate and give feedback and If successful, the organisation Is then eligible for the next level of funding, say, $1 0000. In this way the grant-maker Is a partner In the growth of the organisation and the organisation grows In an organic way, learning to be accountable to complete activities needed to do to achieve Its objectives. This Is a good mechanism for a small creative enterprise such as a craft enterprise, music recording studio, and film project or design group to develop Its fundralslng profile.

ARTS FUNDRAISING TOOLKIT- 17

'1 \

ExC\mple... Medium Grants

The New Basket Workshop which provides product development anct marketing serviCes to womel'1 basket weavers irl rural Z.imbabwe anct Moz.ambique receives a small grant of $200 000 as part of the Ford Foul'\datiOn initiative to expand livelihOOd opportunities for poor households.

Seed financing could be considered for either profit-based organisations with a potential commercial idea (music recording, film production, craft export) or a new emergent organisation that does not yet qualify for financing according to set criteria (such as a new community-based theatre group). Capital financing is potentially a small grant mechanism but for non-consumable items such as furniture, equipment (computers, production equipment public address systems, pottery wheel, musical or film equipment) and maintenance. 2.5.2. Large Grant Funding Mechanisms Large grant funding mechanisms are typically grants from official agencies (i.e. government departments responsible for countries offic ial organisational development assistance and funding) such as the European Union, the UK Department for lntemational Development (DFID), Danish International Development Assistance (DANIDA) and the Swedish International Development Cooperation Agency (Sida)

18 - ARTS FUNDRAISING TOOLKrr

and can take many forms. We outline a few of these below and indicate which are preferred by different funding country agencies.

•

Block grants which are usually a single large payment of funding for an agreed period of time covering a range of projects. This is often used when international NGOs provide grants to locally based NGOs.

• Framework agreements (Denmark, Norway, Sweden, and the UK) are used when funding includes a general agreement to fund an NGO or group of NGOs. The agreement covers requirements in terms of control and reporting based on general outcomes or strategic objectives. DFID is an example of an official agency in the UK which uses framework agreements to govern its funding relationships with local NGOs. •

Partnership schemes (Finland, the Nethe~ands) whereby, for instance, large Dutch NGOs receive institutional funding

from an overall budget agreed by Parliament and then divided between the co-financed NGOs on a proportional basis. Recently a d istinction has been made In the Netherlands between Institutional funding - through the partnership programme agreements and the Multi Annual Programme Scheme - as described here, and thematic funding to NGOs which offer specialised services and programmes (through Theme Based Co-financing, TMF). Long term contractual funding usually falls under this category of Large Grant Funding mechanisms and is useful for established o rganisations with 3-5 year programmes and which potentially fit Into the mediumterm expenditure framework of either government or funders. While these mechanisms may not always apply to African NGOs from official agencies, It is important to understand how funding works internationally as this may impact on how it works for those funding partners working with you.

ARTS FUNDRAISING TOOLKIT - 19

....

Toot... Mechanisms for Official Agency Funding to NGOs in Seven European Countries. Source: Adams, Pratt and Warren (2006)

to f~Andraise from a diverse range of sources to support the cultural marketing as well as networking. lobb~ing and advocac~ of arts organisations and creative organisations within Africa.

It is

necessar~

polic~.

FUNDING MECHANISMS

DENMARk

FINLAND

IRELAND

Large grar'lt hmdiY'Ig mechar1isms

Framework Agreemer1ts (most N60 flAr'ldS are char'lr'lelled through Framework Agreemer1ts

Partr'lership Agreemer1ts

Mi.Aiti-Ar'lr'Mal Programme Scheme (MAPS)

Project lx:lsed funding grar1ts (small gr0r1t flAr'ldiY'Ig mechanisms)

Mit'\i ProgrMlr'l'le Agreemer1ts Sit'\gle Projects

SI.Apport to it'\dividUal N60s

Ov~

Society flAr'ld (CSF) lr'I-COUr'ltry MicroProjects M.do+'rojects Scheme Other ir'ldividlAal flAr'lclir'lg schemes

Details of le~rge gror1t flAr'ldir'lg mechor'liSms Clr'lcl schemes

Six N60s, foi.Ar-year rollir'lg Frc:1 mework Agreemer1ts

T er1 N60s, threeyear rollir'lg FrCimework Agreemer1ts

Five N60s, threeyear agreemer1ts

key priV"Icip!es regardir'lg large grar1t flAr'ldir'lg mechar'liSms

For targeted

Based oo brOOdly defir'led, flexible strategiC progrGif'r"tl1es

ProgrMlr'l'lGitic multiami.Aal flAr'ldS for overall programme

20 - ARTS FUNDRAISING TOOLKIT

develop.-Y~er'lt

activities based Or'l progrMlr'l'leS Glr'ld thematic strategies. N60shave ai.AtOr'IOmy tO implemer'lt CICtivities.

TI-E 1\ETHERLANDS

NORWAY

SWEDEN

UNITED I<.INGDO!v'\

Co-financing lv'\FP which accounts for half of the funds channelled to N60s

Framework Agreements

Partnership Programme Agreement (PPA)

Remainder prov,ded via project level funds

tnd1vid\..lal Agreements adminiStered through N60swith Framework Agreements

Partnership Agreements â&#x20AC;˘ administered to N60s thr01.1gh framework organisations Direct f1.1nding within a cooperation strateg!;1

Civ11 Societ!:1 Challenge F1.1nd (CSCF) Humanitanan assistance C01.1ntr!:1 programmes

Six NGOs. fo1.1r-!:1ear agreements

Approximatel!:1 :30 N60s; long-term agreements for several programmes. for 1.1p to five !:1ears

14 frame

18 N60s with PPAs. three-five !:1ear strategic agreements

Orgar.satiOnal SUppOrt in the form of core funding

Funding iS provided for SpecifiC projects/ programmes rather than for core organsatiOnGI! SUppOrt

organisations (six Umbrellas 1.1ndertake own activities and administer funds to other N60s. eight understand own activities onl!;1) five to Six-!:1ear agreements and funding for one to three !:1ears

Project grants provided as a contribl.ltion to an NGO's own specific development programme

Long-term f1.1nding ar01.1nd a shared strategiC viSiOn. FundS not tied to Specific projects

ARTS FUNDRAISING TOOLKIT- 21

2.6. Why do Donors want to Fund You? This may sound like an obvious question but far too many people think It's because of the wonderful things they do. WelL here's a big secret - it's not because of what you do, it's because your organisation or your project meets the needs and motivations of the donor. It's about the motives and needs of the donor. That Is why It Is important to have a strategic focus- the more you know what motivates

the funders, why they want to give money to projects, the more likely you are to be successful in your fundraislng efforts. If the funder Is already sympathetic to your cause, Its half the job done! It is so much more d ifficult (although NOT impossible) If you first need to convince the donor why your cause Is important. "In good times and bad, we know t hat people g ive because you meet needs, not because you have needs." Kay Grace. www.fasttrackfundralslng.com

Figure 2: Why Donors Fund You

lndvlduals It makes me feel good I want something in return Peer pressure I like you I enjoy your work Because you asked me

Foreign agency For recognition To build a relationship To build a partnership It Is our foreign policy It promotes interest and a positive Image of our country To improve the economy

Corporales Improve the company image Promote my interest For publicity To avoid paying tax To stimulate sales and customer retention I like your proposal

Foundations or trusts We have money to give Sympathy or empathy To bring about change Matches our interest We are compelled to give It's a cause we believe in

Source: Adapted from Code of Good Practice, 2001, p 36-39

22 - ARTS FUNDRAISING TOOLKIT

Advice ... There is No Such Thing as a Free Lunch ...

~tAite

o lot of ful'\diY'Ig from officio! ogeY'Icies is iY'IStrumeY'ItOI iY'I the seY'\Se thot the N60 iS

expected to deliver OY'I a partiwlor sociol mal'\dote of OY'Ie sort or oY'\Other (reduCiY'Ig HIV1Aids, miY'Iimiz.iY'Ig domestic violeY'Ice, iY'IcreaSiY'19

commtAY'Iit~

participatiOY'I, empoweriY'Ig womeY'I OY'Id

so OY'I).It iS Y'IOt surpriSiY'Ig therefore, thot officio! ogeY'Icies teY'Id to prefer to chOY'IY'Iel fuY'IdS to professiOY'Iol ruY'I N60s rather thtm direct!~ to sociol movemeY'ItS. The orts aY'Id wlture civil

societ~

Y'letworks iY'I Africa Y'leed to guord ogoiY'ISt this

moiY'ItOiY'I both a

health~

t~pe

of margiY'IalisatiOY'I OY'Id

relotiOY'IShip with local N60s aY'Id also with the dOY'IOr commuY'Iit~.

ART erial Network believes that a healthy civil societ~ iY'I the arts is vital to reiY'IforciY'Ig democroc!:l OY'I the cOY'ItiY'IeY'It as it octs as a deterreY'It to diCtotoriOI teY'IdeY'ICieS b!:J streY"~gthering social copitai!AY'Id iY'Icreasi"'9 the likelihOOd of pro-poor policies. As Pratt, Adams lAY'Id WarreY'I have expiGiiY'Ied:

~Whilst

dOI'\Ors comptoirl about the lock of

coostitueY'IC!:J or legitimacy of N60s, they often dO not recognise that it 1S their own procedures al'\d poliCies that have reinforced these trel'\ds. Furthermore, there 1S evideY'ICe that the excluSive ful'\diY'Ig of N60s has ul'\dermined the development of social movements. and as a result the traditionally strong worki"'9 relotionships between N60s al'\d sociol movements that was oY'ICe ooe of the comparotive advMtoges of N60s has been erOded" (2006:10).

AfricaY'I bosed orts OY'Id culture orgonisations need to mointoin a heolth!:J indepel'\dence both from the poteY'Itiol domagiY'Ig depeY'IdeY'IC!:J that fuY'IdiY'Ig from Siflgle or multiple sources can creote aY'Id from Mtional governmeY'It. One of the roles of the orts is to questioY'I society. ask difficult questiOY'Is al'\d reflect our reality ol'\d OtAr future in WO!:JS that makes us look at thil"'gS differer~ti!:JSome off,cial ogeY'ICies are questiooing whether ~strategic alliaY'ICes w ith some civ1t societ!:J groups would perhaps provide a more appropriate form of supportN rather thaY'I working through professiarol N60s (Pratt, Adams al'\d WarreY'I, 2006: 22). Th1s is pateY'Itioii!:J gOOd r~ews for the types of civn societ!:l r~etworks beiY'Ig established b!:J ART enal Network al'\d

their r1eed to raise ful'\ds for their lobb!:Jil"'g aoo actvocac!:l work.

ARTS FUNDRAISING TOOLKIT- 23

Figure 3: Who Funds the Arts in Africa?

2.7. Who Funds the Arts in Africa?

Many organisations particularly from the US, Europe and Engla nd are funding the arts in Africa at the moment as is evident in the table below. A detailed list of funders (and their contact details) present in Africa can be found in Annexure 1 thanks to the ARTerial Network p ractitioners in each country. There is very little if any funding from Asian economies o r South American

24 - ARTS FUNDRAISING TOOLKIT

countries. However this is likely to change though as countries such as China are becoming more active in the economies of countries in Africa. Funders associated with Arterial Network and its work and listed on its website include Africalia, the African Foundation for Development, Ago Khan Foundation, Arab Bank for Economic Development in Africa, Art Moves Africa, Canadian International

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Case Stud~··· Financing of Zimbabwe's Arts Organisations Extract from The Culture Fund Baseline Report on Zimbabwe's Arts Sector conducted by Jimat Development Consultants (2009).

THE FUNDING OF CULTURE The baseline scenario in terms of financing of the cultt.Are sector are characterised by the following:

The levet of Government func1t1g of key inStitutiOnS invOlved in regtA~ating and coordinating actiVities in the culture sector cOI'\Strains pOlicy and strategy development and implementation iS low at project baseline.

2. FlAnding from Government and private sector is ava~CAble •n local ct.Arrency implying that operational costs cannot be met, and impacts of financing tends to be low. dt.Ae to reduced utility value. The budget has not been G\deqt.Aate to enSt.Are sector growth and development.

:3. Protracted macroeconomic challenges in ZJmbabwe are redt.Acing profitability of private sector companies, thus reducing financial resources available for financing promotional activities. 4. Artists across SlAb-sectors generally lack technical skills in developing proposals to solicit flAnding. A Significant proportion of artists and art practitioners run their operations as leisure activities.

5. There iS no clear sectoral growth and development strategy. This report guides priority focus areas.

b. Artists and art practitioners are not well supported by financial inStitutions and banks dlAe to lack. of adequate information that reflects business feasibility and profitab~it!j FlAnding iS often derived f r om own resources.

26 - ARTS FUNDRAISING TOOLKIT

Furldirlg needs one! nature of support varied across the sub-sectors. Across oil subsectors finarleirlg to

tr~intng

financi~lly

for capacity

capacitote

bu~ding w~s

v~rious

for promoting production,

identified ~s ~ mojor

g~p. IY1

MditiOrl, the need

institutions to function effectively and set up link~es

pack~ging ~nct

promotion ~s well

strengthentng support

industries were identified ~s importont..

CHALLENGES RESULTING FROM LIMITED FINANCING Ch~Uenges rel~ted to

poor finMCing irl the culture sector were common across subsectors.

They ir\Ciuded the following=

L~ck

of c~ity to

pack~irlg

purch~e

and marketing.

2. Low c~,t~ to retoirl

industries, leMtng to

moterials ~inputs for use in prOduct development,

lf\Mequ~te

tr~d one! experienced stoff in arts establishments one~

support

f~lling qu~lity st~nctards.

resource ~v~ilabt1it!::l to

focilit~te ~woreness ~rld tr~tning

progrof'M)eS Md

monitor implemented projects.

4. Limited funds to conduct me~ningful research that informs sector strategies ~nd policies and collection of data important for

benchm~rking

progress.

5. Poor mointen~r\Ce of physic~! infr~structure which renders facilities unsuitable for use by practitioners thus reducing economic value.

ARTS FUNDRAISING TOOLKIT- 27

Case Stud~路路路 SWOT Analysis of Funding in Africa

The ARTeriOI Netwa'k. G\Sked GrtS proctitiOr'lerS C1l over Afrial to reflect on their furtcfr.g Situati()()S b!:J dOing a SWOT for their ovvn co..dries (;W'ld thiS is what they~ to say:

STRENGTHS There iS mone!:1 to fund arts (;W'ld culture in Africa. There are donors that StApp<Jrt arts and culture. Ever!jthing in Africa iS arts and ever!:'Jthing iS culture. The few talented people who shovv tnterest It'\ the promotion of arts and culture Glre committed and determined. Networking is mutlAGIII!:'J beneficial for the arts in Africa. A regiOnGII fund has been iritiated in AfriCa by lEMOA - the West Afriron EconomiC ar-~d Mor-~etar!:'l Ur-~ioY\.

Most cour-~tries in Africa have got prestigious art= crafts, culture Glnd heritage.

28 - ARTS FUNDRAISING TOOLKIT

WEAKNESSES There are major challer-~ges to raising fundS in Africa for arts Glnd culture. The waiting time for grants for arts and culture iS very discouraging Glnd often does not materiahse. To develop arts and culture fl(Ojects taking into Glccount donor interests. Lack Of mQrGII and finGir'ICial SUppOrt from the public and natiOnGII govemment Donors and funders are not reGid!:'J to support arts and culture. N60s push their own agendas. They can or will never put their resources to support without iftterfering ift the creativit!j and content of Gl piece of art. lr-~stitutiOftS of higher leamir-~g need to help address r-~egative perceptions regardiflg the arts, e.g. the arts are a second-choice career. No datobGise that explains the cftfficulties encour-~tered ifl collectiftg funds which include writing ar1d project feasibility, the credibilit!j of the Girts and cultural orgmsattOns, expertise, experieoce and captalisation Managemer1t of funds through government is slow. Lack of competencies in fundrGiiSing (innOvatiOn of formulating programmes). Absence of resources to hr'e hn:lrais.ing experts. Poor abilit!:'J to attract tvwestmer-~ts ifl the culture sector. Weak govemar1ce prGictices in organisations.

OPPORTUNIT IES Ever!:jthir\g in Africa iS arts and ever!:jthir\g iS culture. Networking with other arts and cultural institutions on the continent will help Liberians appreciate their own culture. Cross COlAntr!:j exchanges wwld help provide inSights for the artists across the board and also create gloOOI s~rg!:l足 lntermedtar!:j bodies can and need to be created in CO\..Intries to directl!:j develop conservation or ph!:jSical restoration activities. The will and determination of the public iS at a relativel!:j high level for their involvement in projects.

THREATS DevelOpment pOlicies such as from African Union, Economic Communit!:j of West Africa, West Afncan Economic Monetar!:l Unton, New African Partnership for Development, USAID. have failed. Collected funds that Sl.olpport arts and culture are relativel!:j small compared to other sectors. Arts and culture sectors are not Clt'l'lOr'\g the priorities of African governments. Funding is a ke!:j aSpect of the arts. Man!:l artists abandon their passion and shift to white collar jobs for lack of it. Local and global depression. Limited networks. Negative international image of Z..imbabwe.

Spectfic thanks to the following ARTerial Network member contributors to this SWOT anal!::jSiS: ROdrigue Ahotondji (Benin). Maki Garba (Niger), Siafa !<.Ollie Ballah (Liberia). Z..enz.o N!::jathi (Z..imbabwe), Cr!::lstal Tette!::l (Ghana), Netl!:j Denakpa (Benin). BO\..Ikar!::jl<.ader, (Niger). l<.arima BounO\..Ia (Aigeria).l<.ouame Franck (Cameroon). Farai Mpfun!::la (Z..imbabwe).

ARTS FUNDRAISING TOOLKIT- 29

Case Stud~路路路 Challenges of Funding Creative Industries in Africa. Bautaraki Musinguzi: from www.artSnafrica.com 1tjog/ chdlenges of funding creative Industries

Creative ir'\dustr~ plo~ers - entertoinment and art - in olmost oil Afriwn cOufltries Single out le~ck

of fufldS as the major hurdle in their quest to promote ond suswin the industr!:j. The!:j

sa~

both govemments ond the private sector do not hove policies on the industr!::l ond neit her

do the!:j consider it o priorit~

Yet this it'lduStr!:j is o multi- billion dollar spinner on other contiflefltS.

The 7th Congress on East African Cinema held during the 2010 Amokula kM1pGIIOinternationol Fam Festivol recently. brOI.Aght it'lduStr!j pla!jers from the region together to deliberate on how to ottroct financ1ng from the bonking it'ldustr!j Clt'ld other let'lders.

According to NI.Awo Wamala-Nn!jOnz.i, the choirman of the NotiOnal Arts Clt'ld Crofts Association of Ugot'ldo, M artist must make o cose for what he or she prOduces ot'ld its worthiness before

a financiol iflStitutiOn con gront a loan. One hos to prove its potent.al at'ld relevance to a prospective investor or collector. "If I bought !:jOUr piece of ort tOdCI!j, will it gain value over

period of time?" Bonks therefore wont to know how the!j will recover their investments. "Bonks ore e~lso lookiflg for ifltellectuol propert!j r ights issues, intellectuol er'\tertainment or nourishment, pS!jcho-sociol values and fiscal value (re-saleable or mortgage volue). For this to happen there hos to be government support for the arts industr!:j right from its infaflC!j through the education S!jStem," soys Womolo-Nn!jelnz.i, o visual artist ond consultant.

"We olso need to work on our integrit!j Clt'ld gOOd image because it is Ofll!j the credible ones thCit w芦l get financed," he observes, Cldding that: "Bonks need to support us thrOI.Agh long- term fironcing, but governments have to recognise OI.Ar it'lduStr!j first b!j subsidising us os it iS done it"' South Africo. I opere~te an art gallery withOI.At subSidiSing m!j income like running on Internet

cafe on the side.N

"Our prOducts ore visuol Clt'ld unique because

you comet bu!j o painting ever!j day_ unless the!j

ore gifts. The protaes of bu!jers of m!j works olso keep changing - it is not the some conSistent

buyers. I om not able to track them ond tell their wonts; he SCI!jS.

30 - ARTS FUNDRAISING TOOLKIT

Stever~6otho!"'g0. head of credit at kCB Uganda Ltd, empnasised the ~e of the credbiit~

of the borrower, who has to belong to a group or compan~ in order to q~Aalif~ for fiAI'Idir1g. "We need to predict a potential borrower's cash flow. Is he signed 1Ap to a pr0d1Acer? Do ~CIA have an events manager? We want to see if yrur

money iS coming in a very specific way. If

yru are selling one CD this month and the next one after six months, it becomes diftiwlt to get finance," Gathongo said, adding: "A bank loan is there to boost yOIAr project and income beca~.Ase you will have risked yoiAr money in the initial stage."

The p1Ablic in general c:~nd the finc:~nce sector often tc:~ke the creative indiAStry GIS not being seriOIAS biASiness, tho~Agh the indiAStr~ hc:~s proved to be

c:1

big revenue generc:~tor for the

economy provided there iS Gin infrc:~structure to support it. "The pla~rs have to pockage Gll'ld organise it c:~s c:1 serws buSiness to be guG~rc:~nteed of finGinCial SUppOrt It is hard to finance SOmebOdy performing live. Selling records is much more prediCWble compared with live performG~nCes because with the lc:~tter it iS hard to tell the attel'ldance t"MmberS. For example. brOOdcast rights for internatiOnal football Glre more prof1table thM gate cOllections. Pirocy should be fought in all its forms so that artists cG\1'1 eGirn more from the Sales of the1r proct~Acts." 6othongo said

FINANCIERS

Most financiers

come in for purposes of advertising c:~nd marketing products. The potential

financiers also took out for trade volumes to act c:~s sewrity Glnd a guc:~wntee to plough back their investment. Governments on the other hc:~nd hc:~ve to grapple with ''more importc:~nt" iSSUes like povert~. nc:~turc:~l Glnd lr)Gin-mGide disasters. provision of eduwtion and health. c:~nd development of ph~sical infrc:~structure. The congress found that one of the biggest challenges for the industry is how to pc:~ckc:~ge Gll'ld promote intellectual property inioaoves for presel'ltation to fii'IG\nciers. ll'ltellectual propert~

rights may be diff1wlt to qual'ltify because it is not a tal'lgible item.

According to economist Watiam Kiz.ito. Gldministraove structures Glre also lacking in most creaove groups. partiwiG~rly theatre companies in UgGII'Ida. The so-called leader in most cases hal'ldles almost everythiflg. such as writing the SCript, recruiting artists, pa!:1ng them G\1'\d booking verues. "This kil'ld of set up makes it difficult for bankers to come in. BG\1'\kers l'leed cleGir Gldministraove structures and not a one person operation. Bankers need to see contrOl mechanisms. For example. they will need to follow the credit, turnover Gll'ld bal'lkil'lg histor~ through the group's bc:~l'lk account c:~nd I'IOt c:~n individual's account," kiz.ito told the congress.

ARTS FUNDRAISING TOOLKIT - 31

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of the South African NGO sector' Avocado Working Paper Series No. 4/2001 Olive Publications Steven Leach and Lesley Kirton. (2006) Funding Diversification Pilot Progress Reports 1. 2 and 3. prepared by FourGables for Charities Information Bureau available for download at http://www.flt4fundlng.org.uk/publlcations/ The Management Centre (==me). Global Fundralslng Report. October 2008. This report documents the results of a g lobal online survey exploring the Implications of the g lobal financial crisis for fundraisers. It was conducted during the 2008

International Fundraislng Congress In Holland. www.managementcentre.eo.uk/knowled ge_base_detall.php/596/global_fundralsi ng_confidence_report WSWS (201 0) 'UK Arts Funding Faces Savage Cuts'. article published on the World Socialist Website accessed at www.wsws.org/artclles/201 O/oct20l O/artso20.shtml Websltes Africa Grantmakers Affinity Group http://www.afrlcagrantmakers.org TrustAfrica - http://www. trustafrlca.org

ARTS FUNDRAISING TOOLKIT - 33

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$0.40 It is geared towards Improving food security for poverty-stricken people. The technology has been adopted in Dafur where It is known as the Zeer Pot. In Northern Nigeria, the Invention has been credited w ith Improving the economic viability of farming, building the local pottery industry and also on an Increase In the number of girls enrolled In school as they are freed from hawking food every day. This amazingly simple idea, took two years before it turned Into a reality as he tested out different ways of Insulating and designing the pots. Using his lecturer's salary, he employed potters and started making

the pots, distributing the first ones free. Recognising that he needed to market the concept to Illiterate communities, he tried workshops and even village criers, but nothing worked until he wrote a play with a local drama group and put it on video. The video, with the necessary equipment a generator and a publicity team, travels from village to village providing entertainment and access to information (World Aware, 2001 ). There are hundreds of tools for stimulating creative thinking; some of which can be found at www.creativeminds.org .za

Figure 4: Finding the Idea

The Idea Source: Adapted from www.l OOventures.com

36 - ARTS FUNDRAISING TOOLKIT

What makes an idea successful? • It is simple: creative ideas have little value until they are put Into action. If there is no risk there is no reward.

• How do I evaluate my ideas? When you have an idea or set of Ideas think about the Idea from a range of perspectives (see http://www.dlrectedcreativity.com/ pages/ToolsDev.html):

• Shaping. How can we modify the Idea to address objections that would otherwise cause rejection? • Tailoring. Can we modify the Idea to even better fit our needs? • Strengthening. How can we Increase the power or value of the idea? • Reinforcing. What can we do about

•

• •

weak points? Looking towards implementation. What can we do to the idea to enhance the probability of Implementation? Who must be involved? Comparison to situation. How does the idea compare to what has gone or worked before? Should we do further enhancement, expand or scale back the idea? Potential faults or defects. What could possibly go wrong with this idea? What can we do? Consequences. What are the Immediate and long-term consequences of putting the idea into action? Testability and prototyping. How can we try the idea on a small scale? Pre-evaluation. How can we further modify the idea to meet the needs of those who will evaluate It next?

TooL.. Evaluate your Idea using the PINC Filter

USe a Simp(e too ~ke the PtNC F~ter. The PtNC F~ter enobtes ~ to evo.tuate ycM" ideGIS CJV)Ce ycM o.tready rove a Short liSt (lt')d to decide which of these ~ wG\1'\t to carry foward to the next stage of development. The PtNC filter works like thiS:

POSITIVES · Things that add value - Intriguing · Things that could be of volue

NEGATIVES · Things that remove value - Concerning · Worrying things that could remove value

PoSitives G\1'\d Negotives force people to think obout the reo.t value of the idea. The lrltrigUil'lg test iS to wtch those ideas thot may seem too Sily whie the CCJV)Cerr.ir1g test iS to assess the effect or rnpoct of the idea Putting oil ideas up afterwardS g;ves a viSuOl c~iSOr\ Drowing out the Negatives o.tso helpS assess the riSks of the idea In this process it wit become clear whether ~r idea ''has legs" (trot iS, it will be OO!e to go somewhere) or whether it wil stay in the starting blocks.

ARTS FUNDRAISING TOOLKIT- 37

3.2. Managing your CreaHve and Innovative Ideas

that it has an impact for the target group you are working with.

It is a simple but Important thing to record your ideas and keep them for reference purposes and also to assist the generation of new ideas. Document your brainstorming sessions and discussions so that there is a rich base of resources to draw on for your creative ideas.

(b) Determine what you want to do about it. Now it's time to really get in there and start figuring out the who/what/where/ when and how of this project. Think about what you want to do, how you will do and what the impact will be of your actions. These are your goals and objectives. A goal is the result of your actions, while your objective is the longer term impact that will occur as a result of actions.

How to tum your ideas into projects? The first step in doing anything project~elated is to think about what matters to YOU. Developing a project can be a long process that takes commitment and energy - and If you do not have passion for the cause, you will not be able to muster what it takes to complete it. Be thoughtful do not rush to do whatever seems like the new thing! Here are some useful steps (see Youth Noise at http://www.youthnoise.com/page.php? page_id =6219): (a) Figure out your focus area So you now have an idea, but you need to do research and establish what aspect you would like to focus on and how you can develop that focus so

Figure 5: Your project idea

38 - ARTS FUNDRAISING TOOLKIT

(c) Design your project Your project design will form the basis of your fundralsing proposal so it Is a very Important step. Ask yourself the following questions: • • • •

What do we want? What do we have? How do we use what we have to get what we want? What will happen when we do?

Obtained from http://www.scn.org/cmp/modules/pd-pd.htm

3.3. You, Your Organisation and Realising Your Ideas As an individual artist, your clear artistic vision Is sufficient to make an application. However, as an organisation, now that you have a clear artistic vision or strong project idea, It is important to look at the quality of your organisation. The primary question here is whether you are ready for funding, and the answer is not a simple one. Things to consider include: • Whether your board Is behind the project. • Whether you have the necessary financial and governance systems in p lace to manage the project. • Whether the organisation has the necessary experience and capacity to realise the idea. • Whether you have a track record with regard to projects/programmes of this scale or type.

In this process, It is critical to be honest about your organisation, staff and current situation. Conduct a simple SWOT analysis to establish what the current status Is of your organisation. Similar then to the PINC Filter exercise, a SWOT analysis a llows for a visual picture of the organisation to be created within regard to: • Strengths (internal matters which are the resources that an organisation can draw on). • Weaknesses (internal matters which hamper the organisation's development or functioning). • Opportunities (external factors which may exert a positive Influence on the organisation). • Threats (external factors which may present significant risks and challenges for the organisation).

Ex~mple ... 4..

1 z-1

z)>

SWOT Analysis by a Small Arts Organisation in Ghana

STREN6THS Established team Experienced mar~C~gement Good relatiOnS with locCif authorit!j

WEAI<.NESSESS Limited contact with functers ExiSting grants running out No evaluation unctertaken

Good reputation -

m X

-1 m 70

OPPORTUNITIES Public attention on the iSSue

THREATS Local agency expancting

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ARTS FUNDRAISING TOOLKIT- 39

3.4. Are you Ready for Funding?

All donors, whether from small community contributions or large intemational donor organisations will expect some kind of accountability from your organlsalions with regard to the resources that have been provided. Most donors will expect you to have: • Corporate Governance The organisation must have a stable and functional board, i.e. one that meets and plays an active role in the organisation, a clear vision and plan for the future and a good track record of implementation, as proven by its reports and references. Your organisation's history and relationships wHil beneficiaries will also play an Important role In putting prospective donors at ease. Each country may a lso have laws and regulations regarding funding and fundralsing. In South Africa and Tanzania for example, a ll Non-Profit Organisations are expected to register w ith government as non-profit o rganisations to be eligible for tax and other benefits. In South Africa, each non-profit Is

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• Financial systems The organisation has basic accounting and control systems, as well as t he necessary expertise to manage often complex donor financial reporting requirements. • Staffing and infrastructure The organisation has a solid foundation, i.e. office space, communication facilities, computer facilities and of course people to implement the project. • Skills While people are important It is also the skills and experience of the Individuals in the organisation which play an important role in determ ining whether or not an organisation is ready to receive donor funds. In most cases, it is only t he combination of a ll of these that w ill give t he donor the confidence to Invest in you.

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assigned a fundraising number before they can raise funds and in Tanzania, noni)roftt organlsatons may be required to obtain permission from local police for fundraislng. Your organisation must comply with any local statutes.

X .a

Farai's Top Fundraising Tips for Organisations

1. He~ve cleCIr or ge~r'!iSCitiOr'ICII ve~lues 2. RemCiir'l true to your orgCir'liSCitior'!'s miSSiOr'l Clr'ICI mCir'idCite 3. l<r'IOW Specific people ir'l te~rgeted orgCir'liSCitiOr'IS 4. l<r'IOW the miSSiOr'l Clr'id mCir'idCite of the te~rgeted orgCir'liSCitiOr'IS 5. Build exter1sive r1etworks b. Develop fur1drC1iSir1g competer1cies withir'l !:JOUr orgCir'liSCitiOr'l 7. Pe~cke~ge cor1cepts Clr'id programmes to me~tch te~rget &. He~ve demOr'IStre~bi!:J clee~r reportir'lg mechCir'lisms 'l. He~ve reCIdily CIVCiiiCible proof of previous projects Clr'id their outputs/outcomes 10. MCiir'ltCiir'l Cl trCir'!Spe~rer'lt Clr'ld professiOr'ICII work ethics FCirCii Mpfur1!:JCI, Z..imbe~bwe ARTerie~l Network Member

40 - ARTS FUNDRAISING TOOLKIT

Figure 6: What the Funder Requires from Your Organisation

• Do you hove o responsible boord? • Do you hove their support? • Do you hove documentation proving your experience? • Are you legally compliant? • Do you report on the state of your orgonlsot•on and Its ftnonces regularly and accurately? • Do you hove the support of the community which you serve? • Hove you completed $1Jccessful p!'ojects befOI'e?

• Do you hove o working telephone and fox? • Do you hove o stable office premises? • Do you hove o computer, e-mail and Internet access? o Does your organisation hove the people to run a project of this scale? o Do you hove transportation it the project requires it?

Do you hove staff with expertise in the project area? o Do you hove staff with experience In managing similar projects? o Do your staff hove project management sldlls? o Do you hove financial management skills In your staff? o Hove any of your staff worked with donor funds before?

• Do you hove a current bonk account? • Do you hove monthly financial reporting systems? • Do you hove accounting systems In place? • Do you hove financial controls In place? • Do you effectively manage risks? • Do you hove o full time staff member involved in financial management?

References and Additional Reading Organisation Checklist Fit4Funding at www.fit4fundlng.org.uk World Aware (2001) Shell Award for Sustainable Development accessed at www.worldaware.org.uk/awards/awards2001 /mobah.html

ARTS FUNDRAISING TOOLKIT - 41

4. THE PROPOSAL 4. 1. Planning a Proposal

write a good proposal that:

You have created an Idea In response to a need. opportunity or challenge. but that Is just one of the requirements. When planning to write your proposal you should analyse this need. challenge or opportunity Intensely to ensure that you have real insight Into the Issue. This analysis will be really valuable as you draft your proposal as It will inform the background to the project but a lso demonstrate to the reader. your donor that you have applied your mind to the Issue.

• Outlines your project comprehensively but briefly • Tells the donor how you will go about Implementing It • What you aim to achieve and who the beneficiaries will be • Most Importantly. explains why this project Is necessary and why your organisation Is best placed to take It forward

Take the time to think about what you want to do In the context of the challenge or opportunity and then you will need to: • Clearly define what you will do. with whom and when • Design your arts project In such a way that It Is targeted at the Issue. need or opportunity

4.2. Writing a Proposal There are numerous ways to approach fund raising. some of which will be discussed In the next section. but the first step Is to

Most funding agencies have their own formats and are very strict about accepting proposals that are not aligned to their frameworks or prepared on their templates. Make sure that you are using the appropriate format.

How to tell the story ... All good funding proposals have a story and It this narrative that will excite your potential funding partners. A funding proposal has a range of different components that all fit together and create a single coherent organism. a bit like a body.

Figure 7: Telling a Story About Fundraising Based on the Body

The idea How you will teO people about It The narrative or story How you will implement it

The sustainabillty of the project

ARTS FUNDRAISING TOOLKIT- 43

!"#$"%&'&(")*&+&,-./+01200345++&16'76++&28+2&0!&."9:&CE& ;

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Toot. .. Checklst for Your Proposal Planning

BODY PART

PROPOSAL SECTION

Heart

The problem statement and rationale

Background BeneficiGiries

Brain

The aim or goal of the project in response to the problem statement and rationale

Project title 6ool statement and objectives Strategies to implement the objectives

Stomach

Resource reql-lirements

Project budget Risk t"nGGt'1GGgement Governance and project t"nGGt'1GGgement

Hands

Implementation

Mouth

Communicotion and monitoring

strateg~

OUTLINE

Project team Roles and responsib11ities Experience and trock record lmplementation/oction pion Reporting and monitoring s~stems

Marketing and communicooon plan Stakeholder monc~gement plan Legs

46 - ARTS FUNDilAISING TOOLKIT

Project outcomes ond evaluotion

Project monitoring results Project evaluation results Long term plans

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Tips...

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Before you start writing, here are some important things to keep in mind:

Make sure that ~r proposal is cOI"'cise a11d eas~ to Ul'1derstal'1d with 110 grammatical or stylistic mistakes

Do 110t use jargon a11d Ul'11'1ecessar!:1 acro11yms. If there iS 110 wa!:1 arou11d it, provide a liSt of abbreviatroos al'1d a gtossar!:1 of terms to assist the donor

Do not forget to proofread it before SubmiSSiOI"' E11sure that !jOUr proposal has a clear a11d explicit purpose. supported b!:1 releva11t facts a11d il'1formati01'1 which are il'1terpreted a11d made clear for the d0110r

Do not present onl!j one Side of the stOr!j. provide a balanced view and tr!j and use sources that present both sides of the argument; facts that support !jOur approach and facts that ma!:1 not

Be persuasive, 110t just descriptive

Do not provide informatiOn or detail just because it iS interestirlg; the onl!j informatiOn that iS relevant iS that whch dtrectl!j relates to !:10Ur project anct the reader of the document, the dooor.

Make sure that !jOur proposal iS cohere11t a11d well orga11iSed so that a complete picture a11d holiStic stor~ is prese11ted to the d01'10r

Do not repeat things unnecessaril!j and tr!:1 not to create too man!:1 small subheadingS or sections which ma!:1 interrupt the flow of the document

T r!:1 to use graphics such as pctures. graphs etc. to nlustrate !:10Ur poit'lts and create i11terest tn the docume11t

Do not focus 01"1 the la!:10Ut at a expenSe of the content

Be poSitive about !:10Ur organsatiOn and

Do not focus too heavil!j on the shortcomings of !jOur organisation and the project; while !jOU must be honest about these. it should not dominate the tone of the proposal

the project al'1d use your words to i1'1Spire yourself a11d the donor

Make the proposal personal and e11sure that it is an exte11Si01"1 of !:10U al'1d that it presents it would if !:10U were talking to the donor face-to-face

Do not create a bland, "ooe siz.e fits all" proposal. if it sa!:1s nothing to an!:101"1e 1n particular. no 01'\e will want to read it

ARJS FUNDRAISING TOOLKIT- 47

)( - TipS ... \

Rodrigue's Top Ten Fundraising Tips:

Find, define Clnd instCIII the best melting-pot of people Clble to wrry the project to success.

2. Define the project objectives and durCition. 3. CleCirly define Clnd study the project form (for example, gCither African Clrts Clnd culture heCidliners Clnd make them the voice of the voiceless). 4. Define the different ways of developing Cl plan of Clction.

Budget the project.

b. Look for funds= consider the Afriwn ne~tional developmet"'t pot•cies in order to inClude the funclrCiiSing project it'lto development poliCies. fm•ng one or r"nnffy b;g Siz.e sponsors for the prOJect such as MTN 7. Develop the project b'ke llt"' AfriCan chCIIIenge or AfriCCit"' issue so CIS to it'lvOive the whOle society. Clll the sectors. Once they e~re Clwore, they w~l feel concerned llt"'d support !:f>'Ar noble wuse.

B. MCike the project visible= choose Clttractive llt"'d meCiningful COr't\l"t')Uniwtion Clt"'d the best broodcCisting chCinnels to reach your target.

'l. For Cln efficiel'1t Clnd massive fundrCiising effort. !::jOU must inswll Cl credible, convincing Clnd decentrCiliz.ed work S!::jStem able to reach CIS mCin!::l people CIS possible. 10. Install or find a good security S!::jstem for the collection of funds. Rodrigue Ahotondji, Benin, ARTeriCII Network Member

48 - ARTS FUNDRAISING TOOLKIT

4.3. The Basic Components of a Funding Proposal As mentioned before, each grant-maker may have a specific format that must be followed, but on the whole, funding partners require similar Information from applicants (Norton, 2003). In each of these different areas, the funding partner Is going to have a range of key questions that must be answered pertaining to why this particular arts project Is Important what Impact it will have, what the resource requirements will be, how you will go about Implementing it and how you will report on it.

Figure 8: Information Required in Your Proposal

• • • •

Goals/aims ObJectives Strategies Impact

• The mission and mandate • The management systems In place • Its Implementation tra ck

• The required skis • The required people • The required equipment. logistics and administration • The required budget

ARTS FUNDRAISING TOOLKIT - 49

Information about the arts project

Whot ...

... ...

Wh!j ...

...

iS the cho!lenge or the need to be met? ore the socio-economic or geogrophic foctors thot mok.e it importont? ... ore the gools/oims ond objectives of the project? ... do !jOU thir>k will be ochieved in the short, medium ond tong term? ... ore the consequences or implicotions of not doing the project? ... will hoppen when the project ends or the mone!j runs out? ... ore !jOur future pions for the project?

·-

How ._

···...

iS it importont to intervene? iS the project lik.el!j to succeed? ore the needs of these beneficiaries been identified?

rl\Cin!j people will the project impact on. directl!j ond indirectly? will the project be sustGilned in the medium onct long term? will stclkeholders such os the cOO\fnUnit!j be consulted? wm stclkeholders one! other partners be involved one! ~ect? wm beneficiorieS be Selected? wm the objectives of the project be meosurect? wm be tong term impoct of the project be oscertoined? Will you diSSeminote infOrrl\Cition OOOut the project?

Information about the organisation

Whot ...

·- whot S!jStems ore in ploce to ensure thot the project iS implemented? ·- Similor projects hove your orgonisotion unctertclken?

Wh!j ···

- iS your orgonisotion well ptoced to unctertok.e this project?

How ..

50 - ARTS FUNDRAISING TOOLKIT

wm the project fit into the operotions of the orgoosotion? will the project be implemented onct ~ed? w~l governonce GVrongements work.?

Information about the resources

Whot ...

... irwestme짜1t hos otreody beer1 mOde ir1 the project? ... ore the resource requiremer1ts or1d wher1 w ilt it be r1eeded? ... ore the imptemer1tc1tior1 ptor1s to er1sure thot the project is d0r1e? ... reportir1g mechor1isms wilt be put ir1 ploce? ... other gror1ts hove beer1 source or portr1ers opprooched?

Why ...

... cor1 this r10t be fur1ded from the ber1eficiory commur1ity? ... is the project opprooch the best votue for mor1ey?

How ...

... ore the resources goir1g to be monoged 0r1 a doy-to-doy bosis? ... wos the budget developed? ... w ill the resources be occour1ted for?

The diagram below shows what the components of a proposal are and the sections below deal with each of these individually (Moritz, 2005).

Putting Pen to Paper. Figure 9: Components of the Proposal

Reporting & Monitoring Background

Goals & Objectives

Activities, Pions & Targets

ARTS FUNDRAISING TOOLKIT- 51

Title Page The title page of your proposal should Include the following Information: • The name and contact details of your organisation (postal address, telephone, fax and e-mail). • The title of the proposed project. • The signatures of the relevant officials, such as the CEO and Chairperson of the Board to Indicate that this proposal Is endorsed at the highest level of the organisation. • Information on any project partners.

Note: Some donors have very specific requirements for title pages and these should be followed carefully. Summary Page An executive summary must present a comprehensive but short overview of your proposal by outlining the key points Including: • A brief Introduction to the project Including the background, alms and objectives and your organisation.

52 - ARTS FUNDRAISING TOOLKIT

• The expected outcomes of the project. • The resources required. Some grant makers require you to submit what Is called a letter of Intent/enquiry before you submit your full proposal. This Is almost a pre-selection process that allows the funder to assess the fit between your project and their criteria before a lot of time and effort is spent evaluating your proposal. The Information required Is essentially an executive summary of your proposal that outlines: • The purpose of the funding and the expected outcome of the project or programme. • The target or beneficiary group of the project and the perceived benefits for the organisation. • The fit between the organisation and the funder. • Any prior funding received or experience with projects of this nature. • The current funding requirements and why the funds are necessary. Should you receive a positive response to your letter of Intent you will be Invited to submit a full proposal and budget.

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For Your Title and Summary Page

Make !:jOUr title catch!:;j. but also a clear and concise picture of what !:;jOU want to ochieve Make sure that !:jOUr title page iS neat and professional; it iS the first thing that potential funder sees and so it iS important in creating

a good first impression

Make a clear link between !:jOUr project and the funder's objectives in the summar!:l Make sure that !:jOUr mention an!:l partners and their roles in the project The best time to write the summar!:l iS when !:;jOU have finished the rest of the proposal, that wa!:l it iS comprehensive and representative of the entire proposal Use the main section titles of the proposal and use the same sequence of information so that it reflects the document and highlights the essential points

Note: Grant makers will have specific information requirements and timeframes for the submission of letters of int ent/ enquiry. Make sure that you adhere t o these! Background/Needs Assessment All funders will expect your proposal to address an area of interest that relates to their funding c riteria. It is in this section of the proposal that you should clearly outline the challenge, the related causes and what your intervention strategy is. Use research and documentation from independent sources to support your ideas and to justify your proposed activities. It is important that you list and make reference to the sources of your information; this will help the donor to check the facts you present and a lso provide a credible basis for the argument you are making.

This section frames all the planning and information that you w ill present in the rest of the proposal so it is important to "set the scene" and create the necessary foundation on which you will then base your goals, objectives, intervention stra tegy and resource requirements. An important part of creating a compelling narra tive in your proposal is engaging with the target group for your p rogramme; the community, individuals or organisations that you aim to involve in the p roject. Tell their story to assist in capturing the interest of the donor. If your organisation has worked in the area or with the specific beneficiary organisation or done similar this, this is where it should be discussed and its successes and challenges clearly a rticulated.

ARTS FUNDRAISING TOOLKIT- 53

Ex~mple ... Sample of Letter of Enquiry: Uberia Siafa Kolli Ballah Flomoh Theatre Production Inc

The Flomo Theater Production lt'lc. iS widely known for its splendid dromotic ond culturol performonces as well os comedy Glnd orts. The orgGII'IiSOtion teaches or trains ir'lterested ir'ldividUols or orgor'liSGitiOr'IS in improviSGitiOr'IGII dromos, ond it hos beer'\ very successful in dOing so over the post few years. Aport from the formGII clossroom teoching methodOlogy, the orgor'lisotiOr'l creotes oworeness ond set'ISitisotiOr'l through dromos, jingles, spot messoges or skits Glr'ld live theotre performonces. However, it iS in thiS direction, thot the orgol'liSGitiOI'I (FTP) would be highly oppreCiGitive if awarded the controct to develop messages oppropriote to the rule of low. With this in mind the orgoniSGitiOr'l (FTP) iS therefore requesting from The CARTER CENTERLIBERIA the omount of FIVE THOUSANDS SIX HUNDRED UNITED STATES DOLLARS. Pleose chot'lnel oil cor'ltocts through the followit'lg Glddress:

Siofo K. Bolloh

&ss

T. kollie

Research officer

T rGiir'ling Officer

Flomo Theater ProductiOr'l

Flomo Theoter Production

Liberion Culture Promoters

LiberiGir'l Culture Promoters

Fror'lt Street Deshield Building

Front Street Deshield Building

Monrovio LiberiGI

Cell# 0610101q

Cell# 06576503

Emoil: bollohSiGifo@gmoil.com

54 - ARTS FUNDRAISING TOOLKIT

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For Your Background and Needs Assesment:

Make sure that this section is not just descriptive; a clear and compelling argument must be created for the need to intervene and wh~ ~our approach will moke a difference In creoting ~our argumel'1t, also indicate wh~ ~our organisation iS well placed to take on o project or progrC\frlme of this noture Be cleC\r about the scope of the project, it is important not to fr'IC\ke wild Md unsubstMtioted claims about past or future successes

Goals and Objectives

purposes. The easiest way to assess your objectives is to use the SMART principle :

In this section you will clearly need to explain:

S: â&#x20AC;˘ The expected outcomes of the project and how this will impact on the challenge you have outlined in the section dealing with the background/needs assessment. â&#x20AC;˘ The specific goals and objectives that the project will realise. Remember that your goals are statements of what you want to achieve (outcomes) and your objectives are specific things that you will do in order t o achieve these goals. As far as possible, your objectives should be measurable; this will assist in assessing the success of the project for evaluation

60AL Increase owareness about HIVI AIDS prevention

M: A:

R: T:

Specific (clear and well defined) Measurable (obtainable and verifiable) Achievable (feasible and possible) Realistic (given available resources and time) Timely (able to be implemented in the specific time frame)

Use the SMART principle to assess and set your objectives and also to craft them so that the donor is able to see that you have applied your mind. An example of a SMART objective, linked to a goal is:

OBJECTIVE Use Theatre for Developmel"'t methodologies to develop specific performance pieces based Ot'\ communit~ experiences

Adapted from Moritz (2005)

ARTS FUNDRAISING TOOLKIT- 55

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TipS...

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For Your Goals and Objectives:

Creote the necessor~ links betweer1 ~our project/progrommes oims Cll'"ld objectives Cll'"ld those of the fur1der. Where these gools olign with communit~ or tor get beneficior~ il'"litiotives, moke sure thot these ore cleorl~ orticuloted.

The Organisation This section p rovides a n opportunity to introduce your organisation to the donor. Briefly outline the history, vision and mission of the organisation and also emphasise its experience in the implementatio n of programmes or projects of this nature. Any partner o rganisations should also be included in this section. Provide an overview of the governance of the o rganisation, in other words its board a nd management structures, its staffing structure a nd the numbers of staff.

Activities, Plans and Targets This section deals with how you will implement the programme or project. What

56 - ARTS FUNDRAISING TOOLKIT

you will do a nd when must be clearly stated and described. This will also help with the development of the budget that is discussed below. In expla ining the "how" of the programme or project to the donor, you should explain what you will do and link this clearly to the problem and needs assessment described earlier in the proposal and a lso ensure that your activities are aligned to your goals. It is a lso important to explain w hy your particular approach will be successful where others may have failed or how your method is innovative. Build ing on the example of goals and objectives above, activities in HIVI Aids prevention through Theatre for Development might be:

Example of Goal, Objectives and Activities in Theatre for Development

GOAL

OBJECTIVE

ACTIVITIES

11'\crease awarel'\eSS

Use Theatre for

Develop a ptay about

about HIVI AIDS

Developmel'\t

HIVI AidS prevel'\tiOI'\

prevel'\tiOI'\

methodologies to

Trail'\ 40 commul'\ity-

develop specific

based performers

performal'\ce pieces

MoLmt 4

based Ol'\ comm1.mity

performances of the

experiel'\ces

play Ol'\ World AidS Day (1 December)

Adapted from Maritz. (2005)

An actM1y plan is a tool tnat allows tne donor to have a clear picture of all of the activities in the project from beginning to end, how tney will be sequenced a nd when they will take place. There a re many ways to

document such a plan; and a simple "Gantt chart" is one of tne simplest as outlined below. Project management software can be used to c reate these, but a simple table can also be used to g reat effect:

Example of Activity Plan Across Time

ARTS FUNDRAISING TOOLKIT- 57

An alternative is to provide more specific timeframes as outlined in the example below:

Example of Activity Plan with Start and End Dates

ACTIVITY

START DATE

Developmel"'t of - COI'\Sult

plo~

commul"'it~

END DATE

JOI'\UOr~

Februor~

2'} Morch

Jol'\uor~

31 Morch

2April

30 April

- Hire focilitotors

2Mo~

28 Mo~

- Develop moteriol

1 Jul'\e

31 July

- Hold ouditioos

10 August

'15 November

-Workshops

10 August

'15 November

1 October

10 October

- ldel"'tify vel'\ues

1 October

15 October

- Finolise dotes

18 October

30 November

- Invite stokeholders

18 October

30 November

- Morket plo~s

1 December

- Droft ploy - PreSel"'t to pol"'el T rOil"'il"'g performers

- Reheorsols Performol'\ces

- Mount plo~s

Staffing, Resourcing and Risks

In this section, provide a brief introduction of the team members who w ill be responsible for the programme or project and what their roles and responsibilities will be. Any specific experience of the members that Is relevant to the project proposal must be highlighted. If necessary, resumes can be attached as annexes to the proposal. This section should also outline what resources the organisation and/or partners

58 - ARTS FUNDRAISING TOOLKIT

will be contributing to the project including but not limited to: • Facilities, venues or spaces. • Equipment especially specialist equipment and whether these are on hand or If they will be procured as part of the project. Should equipment be required, justify the need to ensure that the donor is aware of the Importance of this expenditure for the success of the project. • Personnel and whether additional personnel will be required for the project and how they will be remunerated.

)(

TipS ...

)(

){1

For Your Budget

N\ake sure that all these items mentioned above are included in the project budget Should C.ldditiOt"'al staff be required, indicote what the process will be of recruiting and selecting Think carefully ooout whether

you will need to contract in additional e~ertise or if

your staff will be adequate to implement the project N\ake sure that ~ou indicate whether ~ou will need the funding 1n phases or tranches and what milestooes will be utiliSed to draw down funds USe detC11Ied line item based coSting so that

you are able to check that the budget is

comprehensive and so that the donor iS able to see the full comm1tments to be made to the prOJect When ~ou have completed ~our budget, review it to make sure it is accurate and realistic Use ~our budgeting exercise to complement prioritising exercises !:jOU rna~ be dOing

The most c ritical part of this section Is the budget. The budget must be: • Realistic and not over-inflated • Comprehensive - encompassing all the necessary expenditure for your

project/programme • Credible - based on sound budgeting and costing principles • Consistent with the funders guidelines regarding qualifying expenditure items

ARTS FUNDRAISING TOOLKIT - 59

l)C

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Farai's Top Ten Proposal and Budgeting Mistakes to Avoid

Underestimote octivit~ costs Overstote cost of Misrepresent

octiVit~

notl.-~re

octivit~

ond cost

Use wrong currer1c~ rote of exchonge ossumptions Use wrong title of project Use wrong nome of person responsible for the proposol Include implementing portners in projects without their consent Include implementing portners who do not hove

copocit~

to implement octiVitieS

Moke content mistokes (norrotive, formulos, referer1ces, etc.) Moke mistokes generoted b~ tronsfer of budgeting doto between computer opplicotions Foroi Mpfun~o. Z..imbobwe, ARTeriol Network member

Project or programme budgeting is part science and part art; it must be based on research to inform the costing. but creativity w ill be require to ensure that the budget is cost effective. The easiest way to think

about a budget is as a series of steps: "Project budgeting is part science and part art."

Figure 10: Steps in BudgeHng

-Step~;

â&#x20AC;˘

Step 1: Understanding the project activities

~QOOntify how ~ much of each Step 2: expenditure dentify all item will be the possible required expenditure line items & benchmark costs

60 - ARTS FUNDRAISING TOOLKIT

Step4: D :aft-yoUr"""" budget. i.e. the number of units multiplied by the benchmark costs for all line Items. both direct and indirect

Step 5: Align your to the a~t~fy plansÂŽ that you know how much you will need and when

ooa9rt

Every budget has 2 basic components: â&#x20AC;˘ Direct costs which relate to the activities of the project or programme. â&#x20AC;˘ Indirect costs which are created through the activities of staff members in support of the project or programme such as procuring goods, administration etc. Your budget should include both of these aspects, and remember to include the costs of all personnel, core team members who will be paid from the project and those that will support it from the organisation. It Is a lso Important to benchmark costs by

doing research. If you have to purchase computers for example, obtain a quotation, go to stores or do research online to establish a baseline cost for this kind of equipment. Some of this Information may be available within your organisation, so check you own expenditure reports for benchmarks. Spreadsheets such as MS Excel are the easiest way to construct a budget, but once again a simple table can work just as well. Using the example of puppet making for Carnival as well as the HIV1Aids project above, the example below provides an Indication of what a total budget may look like:

Budget Template using Puppet-Making for Carnival Example

ACTIVITY

LINE ITEM

NOOF UNITS

COSTPERLNT

TOTAL COST

From your oction pion

All the items which will

Howmonyof the items you will need

The cost of eoch individuol unit

The number of units

$250

$25

$375

b b b X$10

$5 $20 $5 TOTAL

$30 $120 $300 $1075

require funding to implement the octivity Exomple:

Fees for

Mokeb puppets for cornivol

Puppet experts Stipend for porticiponts Cloth 2meters Fromes Accessories

multiplied by the by the number of items

ARTS FUNDRAISING TOOLKIT- 61

' , I

Toot... Budget Template using Puppet-Making for carnival Example

ACTIVITY

UNEITEM

NOOFUNITS

COST PER LNT

TOTAL COST

From !jOUr actiOI"' piM

All the items which will reql..lire fl..ll"'dil"'g to implemel"'t the activity

How mOI"'!j of the items yol.-1 w ill l"'eed

The cost of each it"'dividl..lal l..\1"\it

The number of l.-11"\its ml..lltiplied by the b!j the l"'l..lmber of items

Venue hire Refreshmel"'ts Bus hire Hiring of ptaywriqht Refreshments

1 400 2 2 months

200 per da4 10 per persoo 1.500 per bus 15,000 per rnonth 20 per persoo

200 4,000 3.000 30.000

Venue hire

1 venue x 4 weeks (20 ctyS) 3 trail"'erS x 4 weeks 1 x 1 dalj 1 x 1 week. 50

DeveloprMI"'t of play - COI"\Sl..llt COO\fni.Anity -Draft play - Preset"'t to pMet Tra'~"~'l"\9 performers Hire fac.lttators -Develop matenal -Hold Cll..lditiOI"'S - Workshops - Rehearsals Performances -Invite stakeholders

- MGVket pW!::jS

- Mool"'t plays

Hiril"'9 facilitators Assessrnel"'t Hiril"'g of writer Prir'ltil"'g of ploy books Vel"'l...e hire Refreshmet"'ts Bl..ls hire Vet"'l..le hire Refreshment Vet"'l..le hire Refreshmel"'ts Pril"'tiY1g of ii"'VitatiOI"' Posting of ••witation NewSpaper advertiSement RadiO spot Leaflet Posters Vel"'l...e hire Bus hire Refreshm81"1ts

TOTAL

62 - ARTS FUNDRAISING TOOLKIT

200 per day 3.000per week 500perda~.-~

120 4,000 36,000 500 3,000 10,000

4 200 2 3 50 1 50

3.@ per we& 200 per play book. 200 per da~ 10 per perSOI"' 1.500 per bl..IS 200 per da4 20 200 per dC14 20

500

5,000

500

2,500

5,000

5.000

10.000 10 15 200 1.500 20

30,000 10,500 15.000 800 4,500 20,000 192,720

3 1.500 1.000 4 3 1.000

800 2,000 3,000 1,000 200 1.000

Cash Flow Projection for Puppet Making for Carnival Example

JAN

LINE

TOTAL

ITEM.

COST

M.ake 6

Fees for

$250

$62.50

$6250 $62.50 $62.50

puppets

Puppet

for

experts

$375

$75

carnival to

Stipend

be hosted

for

inJul~

partic~ts

$30

ACTIVITY

Cloth

FEB M.AR

APR

M.AY

JUN

JUL

$75

2meters Frames

$120

$60

Accessories

$300

$75

Note: Some grant makers may have formats for budgeting to ensure comparability with other projects. Make sure you follow their guidelines closely!

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Anita's Budgeting Tips

Avoid general items in your budget

2. Be careful of enormous numbers that appear unjustified 3. Avoid tittle such as "miscellaneous" Anita Fotso kamga, Cameroon. ART erial Network member

ARTS FUNDRAISING TOOLKIT- 63

Exampte... Budget from cameroon, Femin'Art's presentation of the Sixth Ecition of Massao, the lntemotional Festival of Women's Voices

PROVISIONAL BUDGET MASSAO EDITION 2010 (FCFA)

ESTIMATE EXPENDITURE Artists Stamps

70 000000

National al'ld lnterrotiOI'Ial Transport

80000000

AccommOdation al'ld Catering

40000 000

Logistics - soul'ld, lighting. stages. development Site

50000 000

Sec1..1rit!::j al'ld lnSl..lrG\1'\Ce

AdministratiOI'I, 1-fl.tman ResO\Arces al'ld Ov erheads

20000000

COt"nml-lnicatiOI'I

20000000

Fees al'ld Taxes

5000000

VariO\AS COI'Itingencies

:3000000

2 000 000

TOTAL

290000000

PROVISIONAL INCOME GOVERNMENT OF CAMEROON Mir1iSter of Cl-llt1..1re

70 000000

Other Mir1iSter s

30 000000

Parastatals

25 000000

Local Government of Do1..1ala

bO 000000

lnternatiOI'Ial OrganisatiOI'I of Francophor1e

12 000 000

Other lnstitl..ltiOI'IS of tnterrotional CooperatiOI'I

10000 000

Majar sponsors al'ld others

Rentals al'ld sates

5000000

T icketing

5000000

Derived prOdl..lcts

5000000

Editorial rights

3000000

COI'Itribt.ltiOr1 f rom Femi'Act

5000000

bOOOO 000

TOTAL

64 - ARTS FUNDRAISING TOOLKIT

290000000

TooL.. Putting Together a Budget

WHAT IS A BUDGET? A blAdget iS ~OlAr orge~nMtion's plc:~ns for the coming ~ec:~r set OlAt in money terms. It helps yolA enSI.Are the~t yolA helve the money to dO whe~t yolA we~nt to dO, e~nd it ene~bles yolA to me~ke fine~nciCII decisions e~nd keep control on Cl concrete set of fig~Ares rather the~n relying

on p~.Are g~Aesswork aboi.At where yolA c:~re. WHY IS A BUDGET IM.PoRTANT? It iS part of overall mc:~rogement, not c:~ sepc:~rc:~te c:~ctivity. Clnd is a key too in finC~ncie~l

plamng

It enSlAres the organiSCition hc:~s the re501.Arces to carry OlAt its objectives It iS a way of being CICcOlAnWble It enCibles yOlA to do a wsh flow projection WHOSE RESPONSIBILITY IS BUDGETING? PrOdlAcing the bi.Adget for an orgt::~niSCition is the reSponsibt11ty of the r'rtCII'1Cigement committee. They may delege~te the detail work of plAtting the bi.Adget together to the T reCISlArer or member of staff, blAt the committee mlASt c:~gree on the final blAdget. WHEN SHOULD YOU START? New orge~niSCitions sholAid ste~rt immedic:~tely. Existing orge~nisations sholAid ste~rt halfway through their financial year. Do not lAnderestimate the time it will take to do the work needed to get e~cwrate fig~Ares. It mc:~y tc:~ke three months to get all the figlAres together and agreed b~ the orgt::~niSCitiOn Stc:~rt work c:~s soon e~s yQ~.A wn on the bi.Adget; do not wait for gre~nt application forms CIS yOlA me~y well hc:~ve to fill them in q~Aickly. HOW DO YOU BEGIN? Swrt off by thinking Cll:>o..tt what your orgGlniSCitiOrl's c:~~ms are. What finCinees wdl !:fllA need to achieve those Clims? Ask ~OlArselves "Whc:~t will the orge~niSC1t1on be dOing next year?" Y OlA mc:~y be dOing the SCime c:IS this year blAt it's likely there wffl be some che~nges - mc:~~be new services, perhaps an expe~nSion of some c:~ctivity.

So the first stage of drawing lAp

the bi.Adget iS plMning Clnd mc:~king deciSiOnS abOlAt what yOlAr orgMiSCitiOn will dO next year. Once yQlA have thOlAght ClbolAt whe~t yolA we~nt to dO, yolA can write down Clll the likely categories of expenditlAre e~nd income - yQlAr blAdget headings.

ARTS FUNDRAISING TOOLKIT- 65

BUDGET HEAD!N6S Your budget iS cMded t1to two rm-es: N:OM£ - the t'rt()"'e~ !fM expect to come irt G\"d EXPENI::fTU<£ - tne «<"te~ !fM wl Sperd Ot11'\..t'ri"g the o-~tiOt"'. ~ itS oct:MtieS G\"d setv~ees. EXPENDITURE The expenditure budget ma~ be further divided into capitol ond revenue budgets. The CAPITAL BUDGET iS the financial plan for bu~ing new fixed ossets - medium to longterm. The REVENUE BUDGET iS the working budget of the orgonisation which relates to its doil~ octivities. it's running costs and project costs. for exc:~mple: The bosic costs that nearly ever~ organisation hos - such os postoge. stationery. rent and

electricit~

Expenditure portiClAiar to the wo-k of Cln orgonwtiOn dOeS - such os trClnSport or catering. INCOME 11"1 mon~

orgaYI!sations income iS more sensitive at'ld subject to chonge that'\ expenditure.

Yau should record the ossw-nptiOnS on whiCh your deciSiOnS are based: Wh~ do ~ thinK ~au will get this amount from this source? Tr~ at'ld be clear, for eoch source of income,

whether that income iS: Confirmed Probable Possible STEP-BY-STEP Work out how much ~ou need ut'lder each heoding. Visit other organisations Similar to ~ours ar~d be prepared to learn from their experience. If ~u ore in o building with other orgar~isations, fir~d out what their electricit~ bills are like - DO NOT GUESS -there iS no r~eed, at'ld ~ mo~ get it wrong at'ld find ~rselves with a shortfall that could hove beer~ prever~ted. If ~ cat'l find out the precise cost of something - dot DO NOT GUESS the price of a photocopier or other equipment, get quotes from a few different suppliers or use catalogues to get prices. If you emplo~ workers tie them in to relevant loco! authorit~ po~ scales, moking sure

you have an up-to-date cop~ of the SCGIIes. Do not forget to inClude cost of pensiOn contributions,

sGilar~

inCremet'lts, Glnt"'UGII

po~

If ~ou're piGinning expenditure for t'lext ~eGir

r1ses.

you need to toke ir~to account priCe rises

so dO not forget to Gldd or~ infiGition Glt the current rate. Keep notes on how ~ reach your figures, so thGit ~ou can explain them if GISked. Repeot the process for the Income Side of the budget, look ot oil the possible sources of mone~ ar~d estimGite reGIIiStiCGIII~ how much you will get from each. Now look Glgoir~ at the figures. Have you left ar~~thing out?

66 - ARTS FUNDRAISING TOOLKIT

Is there

on income shortfCAU -

thCAt iS, are you gOir'lg to spend more thon you CAre

expectir'lg to get in'? If so how are

you

goir'lg to meet the shortfCAII'? Make sure

thCAt the income budget iS linked to a fundrCAiSir'lg plan. This mCA!j be the point CAt which !jOU set !jOUr fundrCAiSing targets for the next !jeCAr. USING THE BUD6ET Budgets aren't simpl!j there to get CA grCAnt. They CAre your guide to whether you are spending your

money CAS !jOU heAd planned. They can warn of overspend, underspend, or

spending in unexpected areCAS. If you have this information, !jOU cCAn CAct on it. Every month or so compCAre your expenditure to the budget. If you are not spending !jOur funds as originGIII!j planned, you must find out why. Does it meCAn thCAt you CAre not operatir'lg CAS you want to. or does it mean thCAt your budget should be revised'?

Suggested Budget Heading Check Ust

INCOME

EXPENDITuRE

Revenue 6rCAnts

Staff wages

CCApital Office equipment

from local CAI.Athorities

Rent

IT eq~Aipment

from other statutory

Electricity

Minibuses etc.

bOdieS -

from charitable tr~...~sts

Cleaning

BI.Aildings

and fOlAndCAtions -

from companies

Trainir'lg

Legocies

Postage. printing. stationer!j

Other gifts

Telephone

Membership subscriptions

Insurance

Sales of publicCAtions etc.

T ronsport onct travel

FundraiSir'lg events

Repairs and renewals

Fees for services

Maintenance of equipment

Bank interest

Volunteer/committee expenses

Sponsorships

Accountoncy/ audit

ARTS FUNDRAISING TOOLKIT- 67

FUTuRE BUDGETS About nine months in to the financial year, you should start working on the next year's budget. You will, b!::j then, hove o dear ideo of how !:jOur expenditure and the budget match up. and what adjustments you wiU need to make for the next !:lear. You wiU also hove time to dO the work involved before the New Year Storts. If !:lOU ore making changes in the way you operate (e.g. increasing the number of sessions !::jOU run) or if you hove decided that equipment needs replacing. make sure that !::jOU cost the changes accurately into the new budget. NEXT STEPS Putting together and managing o budget is just one port of the overall process of financial management and planning. Financial management is about making sure that the organisation has funds available ot the right time, and that they ore used in the most effective WO!::j. This includes having policies, procedures and S!::jStems in place and developing o financial strateg!::j to help pion for future develapments. You will also need to have some sort of book-keeping system and internal contr Ols, and ouditâ&#x20AC;˘ng or independent examination of !:jOUr finances at the year end. FIJ< THER HELP AND INFORMATION FUNDERFINDER has produced free software - Budget Yourselves - which helps organisations to write effective budgets. It includes lots of general advice about the process of making a budget and as well as specific advice about the various headings and how to work out accurate costs. It also does the calculating. so that if you change on!:! of the f igures, your budget will still odd up. The programme can be downloaded from FunderFinder's website: www.funderfinder.org.uk, Clnd freely diStributed to others. In the United Kingdom there ore chorities advice agencies which help or give Cldvice to organisations about budgeting and costing. You ma!:l wish to consult the community accountancy service ot their website www.comrnunityaccounting.org/ The FINANCE HUB website: http://www.financehub.orguk contains

a lot of advice ond

informatiOn about funding in generG\1, inCluding a section on budgets. Although aimed at the English voluntary sector, organisations in other ports of the country ore free to use the information and advice. However, as the Finance Hub has now finished the webSite iS not being kept up to date. COMMUNITY ACCOUNTANCY SELF-HELP (CASH) has a website at www.cashonline.org.lAk/ which provides help. advice and articles on financial management. NCVO'S FUNDIN6 CENTRAL website: www.fundingcentral.org.uk contains a Iorge amount of information, Cldvice ond publiwtions on funding and financial monogement.

68 -ARTS FUNDRAISING TOOLKIT

USEFUL BOOKS CASH p.~blicatiOnS are available from COt'IYnUnity Accountancy Self Help (CASH). 1 Thorpe Close. London W10 5XL. tel= 020 8%~ 0747. website= wwwcash-online.org.uk DSC p.tblications are available from. Director~ of Social Change. 24 Stephenson Wa~, London NW1 2DP, tel= 08450 17 77 07. website= www.dsc.org.uk NCVO publications are available to order online at= www.ncvo-vol.org.uk/publications. or b~ phone on 0800 2 798 798. The Charit~ Treasurer's Handbook, b!j 6areth Morgan. pub. DSC, 2nd ed., 2008, £14.95, ISBN 978 1 90:3991 % 1. ~ty Money Matters. by Paul Boietle. p.tb. CASH. 2007. £19.%. This iS a comprehenSive gutc~e to financial management Glnd occountt'lg for small chG\ri~es Glnd cOfrot'l'u"ttt~ organiSGitiOnS.

It iS dOWniOGidGible from thew- webSite Glnd comes With more thon :30 exGirnp(es Glnd 1llustrationS (which are downtOOdGible as separate documents). The Complete Guide to Business Glnd StrategiC Planning for VOiuntGify Organisations, by Alan Lawrie, p.tb. DSC, :3rd ect, 2007, £18.95, ISBN 978 1 900991 70 1. Full Cost Recovery= a guide Glnd toOlkit on cost GlllocatiOn, by CGirOI Fiemes, Cathy Langerman and Jeni Vlahovic, p.~b. New Philanthropy Capital &. ACEVO 2004, book and programme. Downloadable from= www.philanthropycapital.org/publications/improving_the_sector/lmproving_charitieS/f uLcost_recovery.aspx helps calculate and understand the total cost of your activities, including an appropriate portion of overhead costs. The 6ood Financial Management 6uide for the Voh.mtary Sector, by Paul Palmer, pub. NCVO, :3rd ed., 2005,£25.00 (£17.50 members), ISBN 0 71991bb2 :3. A Practical6uide to FinGincial Management by Charities, by Kate Sayer, pub. DSC in association with SGI~er Vincent. &d ed., 2007, £24.95. ISBN 978 1 90:3991 72 5. Thanks for perm1SS.an to use this leaflet and mOdif~ it freely from FunderFinder JanuGify 2010.

ARTS FUNDRAISING TOOLKIT- 69

Risk Management Every programme or project has risks, In some cases, the risk of the project outweigh the potential benefits. In this case, the project probably should not be implemented. This Is not to say that risks cannot be managed however. In your proposal, It is important to outline the project risks from your perspective and what you plan to do to mitigate these. This is called risk management, and It shows

the reader of the proposal that you have objectively considered the gains and possible losses and will also assist them in their decision making process. Include a simple risk management matrix in your proposal that outlines the risks, the impact that these risks may have and also what you will do to mitigate these. An example of such a matrix, using the example from the goals and objectives sutrsection in the example.

Example... Risk Management

RISK

SEVERITY

POSSIBILITY

MI"P6ATN6ACTKN

CONTN:::ENC.Y PLAN

What is the risk?

Will it have a high. medium or low impact if it iS not managed?

Is there a high, medium or low probabilit!:J of it happening?

What will !:JOU do to prevent it from happening?

What will !:JOU do if it does happen?

Fear in the cOt"nfnunit!:J to discuss hW/AidS

High

Engagement with c()('r)(r)Unit!:J leG\ders through focilitG\tors trusted b!:J the COt"nfnl.mity

Redesign the project

Lack of participation

High

Medium

Endorsement of the project Effective market:W1g strateg!:J

Engagement with identified schools to source participants ana audiences ProvisiOn of trG\1'\SpOrt ana food to encourage participation

70 - ARTS FUNDRAISING TOOLKIT

Monitoring and Reporting

All grant makers will expect some kind of reporting based on a monitoring process conducted throughout the life of the programme or project. This is to ensure that the project objectives are being met the action Is being Implemented and that funds are being spent responsibly. Your proposal must engage with these, but also define for Itself what the measures of success will be by determining a set of specific targets and Indicators for the project. A target is something that will be achieved by a particular time, and an indicator is information that will tell you whether or not you have achieved your objectives. Your proposal should make these explicit and invest the necessary resources

GOAL

OBJECTIVE

· Increase

· Use Theatre

to ensure that this monitoring and impact research can be concluded; as such, this actMty should be budgeted for in your project or programme budget. You will need to indicate: • Who will be doing the monitoring and who will do the evaluation. • What will be measured and monitored. • When this monitoring and measuring will take place. • What methodology you will use. An example of possible targets and Indicators using the example of the goal and objectives In an earlier section is provided below:

ACTIVITIES

awareness

for

Develop o plo~ about HIVI AidS

about

Development

prevention

HIVIAIDS

methodologieS

prevention

to develop

Train 40

specific

communit~-

performance

based

pieces based

performers

TARGET

INDICATOR

· The plo~ deals with HIVI AidS

· Reported change in behaviour based on pre

OnCOt"r1t"t'1UI'lit~

and post-test

experiences

surve~

Mount 4

performances of the

plo~

World AidS Do~ (1 December)

·Number of peOple ottel'1ding · Reported change in activity based

on pre and post-test surve~

Note: Most funders will have very specific progress and financial reporting requirements

that must be strictly adhered to.

ARTS FUNDRAISING TOOLKIT - 71

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Monitoring and Evaluation

Include monitoring ond evcduotion in the proj ect design so thCit it iS embedded in t he process Allowte Cl clear line of responsibilit)j t o Cl

tee~m

member for monitoring Clctivities

Coosider usil'lg Cln ex.temCII source for evaluCitiOI'I purposes CIS this improves t he credibility of the results If possible consider expCindlng !jOUr sustCiinCibility

e~ssessment

eve~luCition

which could open t he door t o f u ture funding opportunities

Annexes The annexes to the proposal are documents, referred to In the actual proposal. which provide additional Information. These may be required by the funder in the proposal guidelines, such as annual reports and financial statements, or they may be other documents such as staff profiles which support the proposal.

72 - ARTS FUNDRAISING TOOLKIT

exercise to include e~n impe~ct ond

NOTE: Most funders will have very specific additional information requirements and this w ill also vary depending on the type of funder. Make sure that you submit a ll the requested Information and modify or amend your proposal appropriately to fit the requirements asked for from the various funders.

...

Toot. .. What Makes a Good Application?

There iS no magic formulc.~. Whc.~t ~ou sc.~~ will depend on: Who !::jOU are (An estc.~blished orgc.~nisc.~tion? A new orgc.~nisation?) Who the!::j are (A locc.~l funder? Are the~ in c.~nother countr~? Are the!::j a bOd!::j !::jOu've had support from before? A specic.~list in the field?) How much ~ou wc.~nt ($10 000? $20 000? $50 000? $5 million?) Whc.~t !:f'U wc.~nt the mone~ for (An obviO!.ASly good cc.~use? Something totally innov(;ltive?

Or for revenue or running costs? Or copitc.~l expenditure?). A good wc.~!::l of working out whc.~t to sc.~y iS to ir'Y\(;\gine yo~,..~ ore the funder - one of the tr~.Astees

or c.~ member of the gr(;lnts pone!. Whc.~t would

you want to k.now?

You'd be reading a lot of ~ications, probabl~ in a short spoce of time, so for a start !jOU'd favour those that were CLEAR and CONCISE. As

you start to read !:f'U would want to

know WHO was ~Y'Y\9· HOW MUCH they wanted and WHAT they wanted it FoR. A CLEAR SUMMARY AT THE BE61NNtN6 OF THE PROPOSAL 61VES THE IMPRESSION THAT YOU kNOW WHAT YOU'RE DOIN6, YOU'RE BUSINESS-LIKE AND WILL BE ABLE TO ACHIEVE WHAT YOU SET OUT TO DO. As the flAnder ~ou Wtll probabl~ want to know something c.~bo~.At the orgc.~nisation: How long the!::j've been in opemtion Whc.~t (briefly) they've manc.~ged to c.~chieve so fc.~r Whc.~t

iS the strlACtlAre of the orgc.~nisation

Whc.~t Kind of legal str~.Act~.Are the~ have

How mc.~ny members of staff, if any, they hc.~ve If they are q~.Aite far away, ~ou might want to k.now something about the area they work. in, what kind of problems it hc.IS, and you would want to see evidence that the orgai'\1Wtion was getttng support. from the local a~.Athorit~ or local trusts. FLNDERS 1\EED TO HAVE C~ N -n£ Ci<6AJ'.&.T()'\J, TO FEEL THAT -n£

Ci<6AJ'.&.T()'\J HAS~- VVITH USERS a= TrE SERVIC.E TrEY PROVIDE. VV1TH OTHER FLNDERS, PERHAPS VVITH OTHER A<:£1\C.ES N TrE AAE.A As a f~.Ander, !::jOu're gOing to want to know WHAT THE ISSUE OR CAUSE IS. What is it that !jOUr money can help solve? You're going to be partiwlc.~rly keen to know that there's c.~n iSSue or ca~.Ase 'out there' in the rec.~l world:- not thc.~t the organisc.~tion woi.Aid lik.e a minibi.AS or a computer (who wOI.Aldn't?) blAt thc.~t the minibi.AS or the computer would be used by the

ARTS FUNDRAISING TOOLKIT -73

orgcmiSGittOt"' to help solve some real problem or overcome a set of challerlgeS. For examp~e: the c~t!j dOeS not have anywhere to watch wl!AArol performor\Ces and this Sigt"tificantl!j dimit')lshes the qualit!j of their lives, their sense of beiOngirlg and their sense of identit~ the servtee the!j're gettirlg is suffering because the orgat')iSGittOn's administratiOn iS not effective, or whatever the reas0t'1 is. As a funder !:JOU will want to feel that the iSSue iS: The result of a demand b!:J 'real people'. not invented to suit the mane!::! available Concrete, not abstract To do with people's needs, not just a lack. of something Urgent Solvable As a funder !:JOu'll also want to be convinced that the organisatiOt"' appl!jing to !:JOU is the best organisati0t'1 to tackle this particular problem. FLNDERS 1\EED TO BE CON'ANC.ED THAT Tt-ERE'S AN ISSLE WHC.H Sl-ru..D CONCERN

oR INTEREST THEM. So !jOU have been convinCed that there's an iSSUe and tt falls wit:ht-1 ~ area of respoosbtity. "k:>N !jOU V'loi w~t to know HOW the organsatiar\ iS goit'lg to t:ad:.le the problem. There are two

parts to this: the orgmsatiOn's OBJECTlVES and itS METHODS. Take the example of the muSic orgonisatiOn wanting ~ve musiC equipment. The orgat')lsatiOn has described the issue 'out there' - e.g. There Cl(e no venues where the C001t'rMnit!j can come together to listen to the musiC of their commurvt!j as none of these have the r~ecessar!::l equipment to use for live muSiC. The!::! are gOing to t:ad:.le the iSSUe b!:J providirlg Comr'nUV\it!:j verues with equipment for live music Ot"' a for-hire basis providirlg a venue for the C001t'rMnit!:j to get together and celebrate their culture (that's their objective) and the method in this case is to purchase muSiC equipment through a cooperative so that these venues can have live music. The music equipment iS the means to an enct. r~ot the enct itself. As a fur~der

!::IOU wilt want to know:

WHO will do WHAT TO WHOM BY WHEN. FUNDERS NEED TELLIN6 WHAT CAN BE DONE AND WHAT WILL BE ACHIEVED. All ful'ldirlg bodies get more applicatiOns thar~ the!::! can reSpOOd to. The fu()C!er cannot ful'ld everythirlg it would like to al'ld so are interested

11'1

schemes which make their mDt'1ey go

further. If the orgMsatioo shows that a small grant from the ful'lder wilt lever a big grant from somewhere else, or the lessOI'\S drawn from their project will be learr~t b!j many other agencies, the fur~der may be more lik.el!::l to support their project. FUNDERS LikE TO SEE A 'MUL T IPUER EFFECT- THE EFFECT OF THEIR GRANT IS GREATER THAN THE ACTUAL SUM OF MONEY SUGGESTS.

74- ARTS FUNORAISING TOOLKIT

As o fur'lder, ~will WG\nt to know how the orgarlMtiOI'I witt be Glble to tetl whether they've ochieved their objective: How will you know thot your mooey hos been well spent? How con you tetl thot the orgonisotiOI'I hos mode effective use of your money? Whot evidence iS there trot the OfgG\niSOtiOrl hos thO\Aght Glbo\At evGII\AGitiOI'I Glnd monitoring? FUNDERS NEED CONVINCING THAT YOU CARE ABOUT THE PROBLEM OR SET OF CHALLENGES AND ABOUT SPENDING THE MONEY TO BEST EFFECT. Funders core obout the efficient use of money. The funder will wot'\der whether the orgonisotion will woste its money. Con the orgonisotion hondle money? Are they wetl-meoning l

but unstructured? The funder will wont to see o budget. A"'d the fut'\der will be reassured if It's cleor It's comprehe"'sive It adds up It's reahsttc It's not over-i"'floted It shows Glt')y other fur'lders i"'volved If oppropriGite, it shows other 1')01'\- money support FUNDERS WANT EVIDENCE THAT YOU CAN HANDLE MONEY EFFECTlVEL Y . Finolly. the funder will WGII')t to k"'ow what hoppens when its gront to the orgot')iSotion ru"'s out. Wit! the orgoniSGition come bock, over ond over ogoin? Will the project come to on e"'d? Will onyo"'e else pick u.p the future costs? FUNDERS DO NOT WANT T O BE APPROACHED OVER AND OVER AGAIN. USEFUL RESOURCES Tiny Essentials of Writit19 for Fu"'dr oiSi"'9· b!:JGeorge Smith, pub. White Lion Press. 2003, £q.%, ISBN q7g 0 %18q71 b 4 Writirlg Better Fut'\droiSi"'9 ApplicotiOI')S, by Michoel Norton & Mike EostwOOd, pub. DSC, 3rd ed., 2002, £1&.q5, ISBN q7g 1q03qq1 oq 1("'ew editiOI'I due 2010) Free softwore from Fut'\derFmer: Apply Yourselves- helps orgGII'lisotiOrls write effective funding opplicottoos, ar'ld Budget Y 0\Arselves - helps orgGII'lisotions set up ot'\d fnGinGige o budget. Both programmes CCII') be dow"'lOOded from www.funderftt'\derorguk Thot'\ks for permtSSio"' to use this leoftet ond mOdif!:J it freely from Fut'\derFit'\der JMUGir!:j 2010.

ARTS FUNDRAISING TOOLKIT- 75

Example... A Questionnaire to Improve a Funding Applcation

At the stage where o ful"\di¥~g application hos been drafted b'-lt not sent off, people who hove not beer'\ direct!!:J invOlved i¥~ writing the application con be o great help. The!:J con took criticoi!!:J ot the proposal or'ld should r'IOt be frighter'led to make suggestiOr'IS.

What were your general impressions?

Circle Or'I!:J of the words ir'l the box that apply ond Odd your OWr'l positive interesti¥~g professional frieroly credible clear logical muddled

co¥~fider'lt

well-argued reosoooble boring tired C!:Jr'licol opportunistic too IOr'lg too short too gtoss!:l SlOppy t!j'e too Sfnelll t!:jP€ too big pompous hos Spellir'lg miStGik.es opotogetic depresSir'lg untidy vogue complacent full of emotionol blockmoil full of jargon too tnformol inSpirir'lg hos clear sections convinCing too demoroing grovelling committed easy to reocl patronising comprehensive ~2 Did ~ quickly ul"\derstal"\d what the application wos obout'? Yes I No ~3 Did ~ lose ir\terest wh~e reocling it? Yes/No

On o scole of 1 to 5, how well dO you thirlk the oppticotton:

mode it clear what sort of organisation wos applying'?

12 3 4 5

mode it clear what the orgor'liSOtion wonted to do'?

12 3 4 5

mode it clear why they wor'lted to dO it'?

12 3 4 5

exploir'led how much mor'ley wos r'leeded?

12 3 4 5

dealt with the orgor'liSotior'l's fir'IOr'ICiol position'?

12 3 4 5

showed how the orgor'liSotiOr'l would know whether the work

12 3 4 5

hM mMe o differer'lce'? mode o cOr'IVir'ICi¥~g cose'?

12 3 45

hol"\dled or'ly problem oreos (if there were ony)'?

12 3 45

Did it leave out vital informotion? If so, what'?

~b What obout the language it used'? Wos there Or'ly

you didn't understand'? Any language

you thought wo.s not o.ppropriote? If so, which parts'? ~7

Wos there or'lything in the oppticotton that ~ didn't understand'? If so, what'?

Were ~ CAble to find Cllt the irlformottOr\ !fM needed in the oppttcotion or the attached

documer~ts

(if there were ony)'? If not, what couldn't ~ find'?

If !fM were

o. funder, would you give the orgor~Mtion money on the basis of this

opplicotion'? If not, why r~ot'? ~10

How might this G\pplicottor~ be improved?

® Funderfinder November 200b - Thanks for permiSSior~ to use this leaflet G\nd mOdify

1t freely from Fur'lderFinder

76- ARTS FUNORAISING TOOLKIT

Example... Sample of Proposal OVerview

Proposal Overview: Life in Africa kireka (Car"'dle prOduction)- Uganda http=//www.r"'ed.com/group/lia-global/ws/lia_kireka_small_grants_application/prt

Name of orgar"'iSation= Life in Africa kirek a http=/ /ndeloswwworld.blogspot.co m/ OperatiOr"'al Location: Bar"'da-kireka, Acholi (Xuarters kampala Ugar"'da Amour"'t Re~uested: 1,000,000/= Purpose= Car"'dle ProductiOr"'

Discussion http:/ /www.ned.com/gr<Mp/lia-global/news/20/

Bnef Descnptioo of the Proposal ar'\d Budget plan= INTRODUCTION Life in Africa kireka (LlAk) is a cOtl1t~)c,u''llt~ based orgar"'isatioo started b~ Life in Africa FCMr'\datiOr'\ that has e)(iSted sir"'ee 1qqq in Ugar'\da. Or'\e of the major aims ar'\d objectives of Life in Africa Four'\dation was to form and empower comrnur"'lties ar"'d it is for this reasoo that LlAk commur"'it~ based organisatiOr'\ came to life ar'\d registered b~ the cit~ cour"'cil of kampala ur"'der the Welfare and Commur"'it~ Services Department Or'\ June

2008. The Registration r"'L.cmber is NAk407. The UAk communit~ based organisation is ar"' offsprir"'g of Life ir"' Africa Four"'dation and is seen as Or"'e of its greatest achievemer"'tS.

Life ir"' Africa which iS located in the OL.ctSkirts of kampala commor"'l!j called Bar"'da-kireka or Acholi ~uarters has 30 registered ser"'iOr members and sever"! Ser"'iOr officials each with differer"'t capacities for proper rL.cnr"'ing of the orgMiSation. The comrnur"'4t!j has four major programmes; that is to sa!:1; internet4change= this programme is deSigrled to e~l.-lip members ar'\d nor~-rnembers with computer related skills that car~ er~able to link l.-lp both tocall~ ar'\d internationall~. micro Sl.-lccesses: Sir~ce <Mr comrnunit!j is 100% composed of the poorest of the poor, ~et rna~ have gOOd busir~ess or developrner~tal ideas for setf-sustainabthty. For this

reasoo they target ar"'~ form of micro finance opportl.-lr"'it~ that the~ ll!read!j have e)(penences irl it. the orgar"'isatiOr'\ has a chndren's programme that is associated with child basiC services like diSCipline, career, dance ar'\d drama, schOOl fees search, nar'\dwork ar'\d ai1'\0r"'lg others. tne orgar~tsatiOI'l does craft prOdUction which has beer"! the backbone of all tne members.

ARTS FUNDRAISING TOOLKIT- 77

The!::i make mor~!::i kinds of crafts: beads, prOdUcts, baskets of differer~t shapes among other crafts. It's 1mportar1t to oote here that 9&% of these crafts depend oo foreign market. lr~ other words, the!::i prOduce what the!::i do r~ot c0r1sume. This has culmir~ated in a serious situatior~ rather than a problem of r~owhere to sell the accumulated crafts products because the demand b!::i global market has slowed down to almost 5%1 Since all the members were depending on these crafts for their domestic challenges including school f ees for their children, to heal this part of the problem, the organisation has come up with a proposal of 1,000,000/= to be used for the diverSification of the communit!::1 ec0r1omy through production of what can be consumed b!::i themselves locall!::i and what requires little amounts as well.

JUS!FICAT10N: Candles ore ooe of the sources of power used b!::i mon!::i people to substitute electricit~

generating for lighting in case other sources of power 1S oot avadable. There are

also other classes of people who depend solely oo cG\ndles as a source of power for lightir>g;

M\Ot'lg them iS the LIAk c~~ Candles are used in mor\!;1 different occasiOnS such as birthda!::i parties, graduatiOn parties, aro wedding parties aro 1r1 churches. According to a survey dooe, candles are more used b!::i the locals CGir'l be

thar~

lamps because it iS cheaper. Candles

exported to wherever they are needed and a serviCe that most people would wek:00\8.

One stick of CMdle will go for 200/= for retart price aro 150/= for wholesale pnce.

GOALS AND OBJECTIVES: T he major goals and objectives for this project iS to begin producir~g

what can be consumed by the locals

ar~d

supplemer~t or~

crafts when its

market has gone down. This will help not onl!::i to provide emplo!::imer~t to the members but also innovative skills that the!::i will pass on even to their childrer~. The project will begin b!::i first employing 5% of its members Md will go 0r1 as cor~sumption iS realised. This will reduce an over dependenc!::i on crafts and ma!::ileGid to the birth of other project which will involve other members. ADMINSTRATION/MANA6EMENT: Ndelo Peter the chairmor~ has alread!::i acquired candle prOductioo skals aro iS ready to champiOn the project b!::i tra1r1ing three more and ooe other who wallead the prOductiOO in coosultatioo with the chairmM. Jes~a Wassa the treasure will champioo the sales and marketing. She will work w1th other members to see that the prOdUcts are sold and money accOW1ted for. JesSica w~l theY\ have three people re~e for sates and marketing aro shall never be a fulltime job but paymer~t shall be b!::i COI"rofl'liSSiOn depend1ng 0r1 who sells what quantit!;1? B!::i this it will er~courage competitiOn to sell for more commiSSion. For

a period of three m0r1ths, other five members ma!::i be 1nvolved in

the production and in marketing as well depending on the success of the project that we all hope for. Ndelo Peter shall be responsible for making r~ecessar!::i reports online.

78 -ARTS FUNDRAISING TOOLKIT

BUD6ET

ITEM

~TY/CAPACITY

AMOUNT

TOTAL

Mould

40wndles

700,000

700.000

Wo.x

2 co.tones

80,000

160,000

Thread

3 r olls

5,000

15,000

Cho.rcoo.l

1 so.ck

25,000

H!jdroxide

1liter

12,000

cookir1g oil

1liter

2,000

Pockir"~g

5 rotls

10,000

50,000

T ro.r1sport

20,000

20.000

others

16,000

Toto.l

1.000.000

Mould 40 co.ndles - prOduce 40 co.ndles o.t the same time.

WoRk PLAN: One of the communit!:1 members who iS the cho.irmo.n has candle prodt-~ction skills; he ho.s o.lso st-~rveyed where to get the mo.chine for moulding co.ndles O.r'ld o.t who.t price. Where to get mo.terio.l (wo.x, thread o.nd sodit-~m) iS o.lreo.d!j identified. The proposo.l iS tho.t three people sho.ll be tro.ined f irst on how to mo.ke co.ndles one d0.!:1 after the fund iS granted o.nd the tro.ining willlo.st for one week before commercio.l prOdt-~ction commences. The So.tes o.nd Mo.rketing teo.m sho.ll visit vo.riOtAS shops to pledge their St-~pplies o.nd to convince them to be their StAppliers jtASt one do.~ o.fter the ft-~nd iS gro.ntect t-~ntil wher1 the proctt-~cts o.re

o.lreo.ct!:1

prOdt-~ced.

We expect to prOdtAce ~bO pieces of co.ndles per do.y. And we expect to sell bOO pieces of cooctles per dO!j from the beginrmg. Each piece of wo.x costs 80,000/= ond will prOdtAce 1b00 pieces of condles. They shall be sold either at 150 per piece for whole sates or 200 per piece for reto.il Each person sho.ll prOduce 1bO candles per

do.y

for only 2 hours.

ARTS FUNDRAISING TOOLKIT- 79

EXPECTED DELIVERABLES (THE STATEMENT BELOW IS ON A WEEKLY BASIS)

Materials

300,000/=.

Output

3200piCS

Prodl.-lcers

Sellers

ProdlActiOt'l cost

30,000/=.

Sales cost

bO,OOO/:

HOlArS of work

Sales per week

480,000/ =

Center income

qo,OOOl=

SUMMARY: The project iS about creating an income generatir1g activit~ for the communit~ members and also to eqlAip them with innOvative skillS to help them diversif~ ec()t')Ofnic activit~ other than dependt'lg on one activit~ Ths wil h~ to SOlve problems of ~t arnot'1g the cOtl'\fnLmit~ members and hence impr oving the standard of their living as the~ shall be able to meet their domestic needs.

110 - ARTS FUNDRAISING TOOLKIT

ExC\mple... Application Form Template Changamoto Arts Fund, GoDOwn Centre, Nairobi, Kenya

GoDown arts centre

'• ·

"""'" Commnn"' IA•nluponent Foundation ~ love~unj! wult cornmuoit.ics ~ for l a $ 1in g ch a ng co

Char1gamoto Arts F1.md 200q ApplicatiOr1 Form lr1 case of har1d written applications please use neat ar1d cleor handwriting Feel free to Odd on e)(trO sheet of paper where the Space provided iS not enough Section 1= GENERAL~oRMATON

t Nome (organisation/ individlAal) - · - - - - - - - - - - - - - - - - - - - - - - - - - - -

Contact person - - -

Contact details -------------------------------------------Address Ph~c~Oddress-------------------------------------------------------

Telephor1e Mobile Email 2. Tell us about ~ourself (or the orgar1isotior1)

Describe two previous activities

~ou

hove

successful!~

carried out

(i)

ARTS FUNDRAISING TOOLKIT- 81

ii)

3. List the nomes ond Mdresses of two people who know !:jOUr work ond how !::jOu hove worked with them (o) Contoct de toils -------------------------------------------------------------Address Ph!::j~C\ddress--------------------------------------------------------------

Telephone Mobile EmG~il

(b) Conroct detC\ils ------------------------------------------------------Address Ph~C\ddress------------------------------------------------------------

Telephone Mobile Emoil Section 2= PROJECT PROPOSAL 1.

Nome of the Project

2. Describe !:jOUr project

3. How is this project creotive/ movotive?

82 -ARTS FUNDRAISING TOOLKIT

4. What dO ~ou aim to achieve with this project'?

5. Explain how ~our think

~our project is trul~ J<en~an'?

SectiOY\3: AUDIENCES t

Which pt..~blic audience will ~ou present this project to and wh~'?

2. What creative wa~s will ~ou use to publiciz.e ~our finished project?

ARTS FUNDRAISING TOOLKIT- 83

PROJECT PLAN AND REQUREMENTS Describe each stage of !fJUr project, when it will happen, how tong 1t will

t~e. and

where.

Give specific dates

PROJECT STAGE/

DATEWHENtT

DATE WHEN IT

WHERE tT WILL

ACTIVITY

WILL START

WILL END

TAI<.EPLACE

YOUR PROJECT REQUIREMENTS AND MATERIALS List the

things~

w At reC1uire for

project. For example- rehearsal Space, or sets

and props, or paint and canvas, etc. Here iS an example

ITEM

QUANTlTY

NOTES

NUMBER OF PEOPLE WHO WILL TAkE PART IN YOUR PROJECT How man~ people witt be involved in ~our project; and under what

TEAM

ART15TS

FefrlGIIe Male

Totot TOUII number of participants

84 - ARTS FUNDRAISING TOOLKIT

capacit~?

SectiOriS=

YouR PROJECT BUD6ET t

Show !:lour totot budget for the project b!:llisting each itern at'ld its cost. Use the list

!:lOlA have showt'l it'l section 4 to guide !:lou.

2. Do !:lou have an!:l other support for your project

Yes -----------------No ------------------More details

SLWORTFROM

Fa<. WHAT fTEM N

WHERE'?

You<. BUDE£T?

AMOUNT IN CASH

NON-CASH

SLWORT

Note= Support frorn elsewhere iS encouraged as it gives your prOJect credibilit!:l.

How rnuch rnot'le!:l are !:lou requesting f rorn Changarnoto? --------------------------

Name of person completing this application forrn? ---------------------------------Sigt'led=------------------------------------------------------------------------

Pos.tiOt'l=-------------------------Date: ---------------------------------

11'\Cornplete apphcat•Ot'\ forrns and those received after the deadlit'le W1ll not be accepted

Ot'\1!:1 short hsted applicants

w~l

be cOt'ltacted

Chat'lgarnoto Arts Fund Ernail= chat'lge.rnoto@kcdfounaation.org changarnoto@thegodowt'lartscentre.corn PhOt'le= (020) b7b3002, 35402:3'1, 555227. Post= 27772. 0050b or 10501, 00100 Nairobi

ARTS FUNDRAISING TOOLKIT- 85

!"#$"%&'&(")*&+&,-./+01200345++&16'76++&28+2&0!&."9:&22& ;

;<=(<>?*:

;@ ;!@

5. THE ARTS FUNDRAISING STRATEGY 5.1. The Idea, the Proposal and the Strategy "Fundraising is not an event; It is a process." Edgar D. Powell You now have an idea, your organisation is ready, you have your proposal and you know who is out there in terms of funds. You think you are ready to send your proposal off. But walt you have to consider two more important Issues: One: the proposal is not only about the good Idea or the arts project. It is also about whom you are targeting and what their interests are. In fact a proposal for your big idea or project may be rewritten and amended a number of times depending on who you decide to send it to. You also need to factor in the different kinds of funders and how this will impacts on who you approach. Understanding this

environment will a llow you to position your organisation In it. For example, if you are wishing to raise funds from a corporate sponsor such as Spier In South Africa (www.spier.co.za) your fundraising strategy will be different to If you were approaching an international government agency such as the European Commission (http:/ /ec.europa.eu). The former will require face-t<rface meetings, discussing possibilities and how to reach a win-win situation. The latter may require sending off a letter of intent or directly through to proposal. Two: you need to be thinking about the future, about where you would like your organisation to be in 5 to l 0 years and beyond and outline what resources you will need to get from where you are now to where you want to be in the future. The illustration suggests what questions you need to ask and answer.

Figure 11: Where are You Now and Where are You Going?

• Contextual analysis of current situation

• Scenario planning, forecasting, understanding trends

• Plans/ strategies, projects/ programmes, resources

The fundraising strategy sets out the funding needs of your organisation, project or event and outlines the actions, timelines and possible funding resources to fulfill your objectives.

88 - ARTS FUNDRAISING TOOLKIT

5.2. Why Develop an Arts Fundraising Strategy?

This Arts Fundraislng Strategy will help you be successful as it ensures you are:

A fundraislng strategy will ensure that your arts organisation:

• Clear about your organisation's aims and objectives. • Certain that your objectives are realistic and achievable (always be SMART! specific, measurable, achievable, realistic and time-bound). • Choosing your funders appropriately. • Ensuring that the whole organisation shares the responsib ility for fundraising.

• Has a shared understanding of the organisation's aims and objectives and how projects and programmes contribute to the achievement of these objectives. • Is well positioned to achieve the project objectives i.e . the objectives of your project align with the vision and mission of your organisation. • Is designing projects that complement the projects and services offered by other organisations In your area. • Is choosing which funders are most appropriate for your project. • Has budgeted appropriately - Is not asking for too little and risk being Ineffective or not asking for too much and risk going beyond the means of the respective funders. • Has a road-map to ensure the objectives will be realised.

• Contextual analysis of current situation

5.3. Developing your Arts Fundraising Strategy Developing a fundralslng strategy will enable you to organise your ideas to produce a viable plan that takes you beyond this year or this 3 year period. Writing the strategy will give your organisation a useful working document to achieve Its goals and provide a structure to record what has been successful in the past and what your recommendations for the future might be.

Scenario planning, forecasting, understanding trends

Your strategy will include the following sections

1. Where you are now? a . Your organisations current strengths and weaknesses i. A SWOT analysis of your organisation - see Section 1 o n doing a SWOT analysis on your organisation

Plans/ strategies, projects/ programmes, resources

ii. A stakeholder analysis to highlight a ll those w ho have a n interest in your organisation, your funding and your success such as the natio nal o r local government, members of the organisation, artists in the sector, beneficia ries of the organisation, the community, local businesses, other arts organisations.

ARTS FUNDRAISING TOOLKIT- 89

SWOT Analysis

Helpful

Harmful

to achieving the objective

b . A review of your organisation's alms and objectives

organisation is vulnerable to funding cuts.

c . A review of your organisation's current funding position, strengths and resources and past funding experience I. You can do a PEST (Political, Economic, Sociological, TechnologlcaOanalysis of the external environment in which your organisation operates (see tool) II. You can do an audit of your existing fundraising highlighting where you get your funding and why or why not what are these organisations' or international fundraising trends (see Section 2) to establish whether your

Analysing your current situation will help you see your organisation and your work In a fresh way

90 - ARTS FUNDRAISING TOOLKIT

2. Where do You Want to Be? a . Your organisation's plans for the future and outline of specific p rojects b. An explanation and analysis of what your o rganisational or project funding needs w ill be What is the funding gap that needs to be filled?

...

TooL.. PEST Analysis to Assess the Organisation's External Environment

POLITICAL

ECONOMIC

• Government Sl.lppOrt

· Strength of domestic ecOI'\Om!j

• 6ovemment st~bihty

· Rates of growth, inflation ol'\d interest rates

· Likel!j politico! ch~nges

· Rates of unempiO!jment

· Freedom of the press, rl.lle of low,

· Income levels ond dispG\rities

bureaucracy. corruption · T ox legislation

· 61oboliz.otion trends · Likely economic chonges

· Trends towards regulation or deregulation

SOCIO-CULTURAL

TECHNOL061CAL

· Demc>grGiphicS of the torget organiSation/

• Avodob!lit!j of technolog!j 01'\d skUied people

ber\efiwries · Pepuloben growth · St~te of health, educG\tiOn serviCes · Empto~nt trends Ond patterns · Attitl.ldes Ond needS of tG\rget org01'1isoti0t'1/ benefiCtOries ·

Lifest~e

chOices ond leisure preferences

to oper~te both lt"' orgMSGition 01'\d irl environment (e.g the lf\ternet) • T elec0011'0U.niC~t.on S!jStems ond SpreOd of ceHulor phones • Impact of technotog.es on ~ oreo of work (theotre, musiC, film, croft etc.) · Likely technOlogical changes

· Likel!j socio-culturG\1 change

ARTS FUNDRAISING TOOLKIT- 91

ExC\mple...

A Funding Projection for a Small Dance Organisation in Malawi

'1 \ SOURCE OF INCOME

CIJ<RENT YEAR

NEXT YEAR

2 YEARS' TIME

3 YEARS' TIME

MirliStr~ of culture

10000

5000

Hivos

2500

Nil

t'\il

Ticket sales

250

TOTAL COMMITIED N:.OME

12750

5250

&IMce at start of the !:1ear

500

2050

1550

Curret'\t expet'lditure

10000

12500

15000

New Project costs

1200

3500

5000

PROJECTS FUNDRAISIN6

t'\il

3250

14750

14250

TARGET I

This example of the Malawiar~ Dar~ce Orgar~isatior~ shows that it iS dOir~g fir~e this ~ear ar~d has or~l~

a small target to meet r~ext ~ear. This iS a realiStic goal for the orgar~isatior~. The

flmdraisir~g r~eed

gap

ir~

the

followir~g

two

~ears

gettir~g

quite large

ar~d

the

orgar~isatior~

will

fir~d r~ew fur~ders.

3. How Will You Get There?

a. Your funding strategy b. The plan of your projects future finances (existing and new) and that of your organisation as a whole c. An outline of where you will find the funds and methods to meet fundralslng targets I. What Is the p roportion of

92 - ARTS FUNDRAISING TOOLKIT

funding from one source? ii. Is the organisation attempting to reduce dependency on one source? iii. Is there a membership or supporter base? iv. Where are other organisations like yours getting their funding from? d. The people, time and resources you w ill need to do this

TooL .. People, Time and Resources which will be Required to Complete your Fundraising Strategy

PEOPLE= This sectiOr'l shOlA!d detoil the strlACtlAre of the organisatiOr'l, the team which willleM the project beir'lg proposed, the lioiSOr'l perSOr'l, the boord or govemar'lce str~Act~Are os well os the membership base if the orgar'liSotiOr'l has Or'le. It will be lASeflAI to do this as a workshop with !jOlAr team

as well as w ith !jOlAr boo.rd.

Ot'1e perSOr'l sho~Aid be appoir'lted o.s the g~Aide for the orgor'liSo.ti01'1 Ot'1e perSOr'l r'leeds to collo.te all the sectiOr'IS ar'\d fiMiise the pion 01'1 the bo.sis of the stroteg!1 Someone needs to be responsible for orgo.niSil'lg all the relevont dowmento.t1on SlAch

as !10\.Ar orgoniSGition's constitlAtion, bl.tsiness piM. etc. TIME FRAME= This sect.on wdl contain a list of all !ยงJUr project activities and the time frame irl which the!j will be done. Eoch octivit~ or set of activities shOlAid have o start dote or'ld Or'\ end date Md then there will be one for the whole project as well. Some sectiOr'IS need

o broinstorming

session; other sections need detailed individlAal work. Cleor timelines for each section's completion are recommer'lded. Ar'l OlAtSide deadline m~Ast be ogreed on at t he OlAtset

PROJECT RESOURCES: This sectiOr'l m~Ast OlAtline all the reso~Arces !jOlA will need to complete the project ond olso give a reosot'l or

a motivotion for each resOlArce. It will be importol'lt to list the reSOlArces

!jOlA alread!j hove or will be o.ble to access either thrOlAgh one off donatiOt'IS or t hrOlAgh vollAt'lteers.

ResOlArces irlclude A list of oil the peOple who wal be it'lvolved irl the project with their skills ar'ld expertise and reSponSibilities OlAtlit'led

The technca re~I.Ai"ements of the project SlAch as ~~t. rneebt'lg Olf'd/or per fort"nnnCe venues. reheorsol rooms, small tools, SlApplies and materials (SlAch os for craft), flip chart ond pet'IS, photocopier,

comp~.Aters at'ld

prit'lters and whether

will rent or

bu~

these

or whether !jOlA ho.ve access to these thrOlAgh partr'lerships or colloborotions. Lorge e~lAipment that !jOlA mGl!j need to blA!j needs octlAal ~uotes with a StrOI'Ig motivation

ARTS FUNDRAISING TOOLKIT- 93

...

TooL.. Template for Creating Your Arts Fundraising Strategy

AIMS. MI5SION STATEMENT

NEEDS OF THE 0R6ANISATION AND PROJECT

RESOURCES

I<EY ~UESTtONS: WHO. WHAT. WHERE, WHEN, HOW MUCH

SI<ILLS TO FUNDRAISE

Do the CAirns meet the objectives: IXK::ferstC.Ind the overCAll gools C.lnd obJectives of the CArts orgC.It1isotion C.lnd the SpecifiC goors of the orts p!'OJect

lr1ternCAI environment: Whot ore the strengths and weoknesses of the orts or goosation"

How will the orts or goniSC.Ition meet these needs" 6ifts/ donCAtiOnS/

Who will functroise onct who wHI be opprooched (Ot'\e. two or more)? Whot functrC.IiSirlg OCtiVItteS?

Cornrnunt~

focus"(Cornrnunit~

in-k.ind

LocCAI, MtiOnCAI, intemotionCAI)

Functroiser must -Write well -Prepare budgets - Motivate C.lnd dO C.ldVOCC.IC!1 - OrgCAniSe events - l<eep records -Network -RevieW the strateg!1 - Mortitor the strateg!1 - Evoluote the p!'Ojects

ExtemCAI environment: PEST Clnlli!jSiS

Donor orgC.IniSCAtiOnS Corporotes Special fundS

WherewQI ~

Whenwdl~do

this? How much will~ osk. from eoch?

Since not ever!jthing goes according to pion, it will be important to updClte !jOur pion periOdiCClll!j ond even to produce an entirel!j new stroteg!j ever!j five !jeorsl

94 - ARTS FUNDRAISING TOO LKIT

Ex~mple ... A Fundraising Strategy for Craft Development In Rwanda

GOAL

OBJECTIVE

ACTIVITIES

TIMEFRAME

RESPONSIBILITY

Raise

Raise $400000 thrOlAgh grants from internat:iOrlll dOnOrS SlACh aS CCl!'IVrlonwealth f()l.(nciation anc1

Identify i"'ternati:JnOI d(}(()t'"S that work

24/01/2011

Name of specif ic person or orgCII'\isation SlAch as Rwandan craft develOpment association

the French lnStitlAte and the remainder from the Rwonc~on govemment

Develop proHe of internatxlnal cb'aS in terms of prevoAS

$b00000to develop l.(niqlAe qlAality Rwandan craft products

with craft i'1 AfriCa 6et contact det:ais of internatxlnal

2b/OV2011

dOrO'"S

10/02/2011

f'lvdvetner~tin

projects 9.rll as tHs ~~ctlteS

fo-pr~

Prâ&#x201A;ŹpQ'e project

2&/02/2011

proposots Submtproject

20/00/2011

proposalS

ARTS FUNDRAISING TOOLKIT- 95

I :-

TipS...

)(.1

Common Mistakes in Fundraising Strategies and How to Avoid Them

COMMON MISTAkES IN FUNDRAISIN6 STRA TE6Y

WHAT YOU CAN DO TO AVOID THEM

Assume that because ycu have a need someone

Be clear about the valt.~e yot.~r provide and who

will ft.~nd it

iS out there that will pay for that valt.~e

Compete with other arts organisations for

Collaborate at both operatiooal level GIY1d in bidcmg

resot.~rces

for resources

- you need to show how yet.~ are

different or t.~nique Chase any and all funding opportt.lnities creating

Organisattoos need to be clear why they are

a mismatch of intended outcomes or dupliWti0\'1

bidding for a partiwlar ft.~nding opportt.lnity and

and over St.~pply

wherever possible to collaborate with others to enst.~re

a wider scope of service and output

View growth as the meaSt.~re of success whiCh

Develop a diverse spread of SL.\ccess criteria and

can lead to loss of skills and services once

make decisions based on an organisational plan/

Specific projects end

strategy rather than the availability of ft.~nding opportt.~nity

Adapted and rewritten with permission from Steven Leach' s Ft.~nding diversification pilot, Progress Report :3, 2006 (:3-8), prOduced for Charities Information Bt.~reat.~, at http:/ /www.fit4funding.org.t.~k/pt.~blications/

5.4. Who Will Fundraise? Now that you have a fundraislng strategy you wil need to get organised and have a structure and process to manage the funding process and the arts project. You may have people inside the organisation who can fundraise or you may want to appoint a specific fundraiser to take on the following roles: • Coordinate the fundraising strategy • Identify potential funding sources

96 - ARTS FUNDRAISING TOOLKIT

• Draft letters of intent • Draft funding proposals • Manage the media and other forms of public ity • Identify and allocate tasks to members of the organisation and to volunteers The fundraiser must create the essential funding link between those that have the funds (the donors) and those who will benefit from the results of the project or programme (the beneficiaries).

The head of the organisation (coordinator, CEO, manager, director) could take on the role of fundraiser for the organisation but it Is worth considering whether this task could be assigned to someone who is able to bring focused attention and time for a specific period. Globally, organisations report that it is challenging to find a person with the right mix of ability, experience, empathy and time to raise the necessary funds for organisations across industry areas. This Is affecting developing countries such as South Africa, as Jenni Mcleod, of Downes Murray International (DMI), a leading fundralsing Consultancy, explains: "The world Is suffering from a scarcity of good fundralsers and International nongovernment organisations are flooding into South Africa on recruitment drives (for good fundraisers) ". For the arts, this is exacerbated by the few technical and experienced managers In the creative sector who are then attracted to interesting and lucrative job opportunities overseas. The Southern Africa Institute of Fundraising President, Zal Miller explains that "Many Board members expect their fundraisers to bring In substantial amounts but do not realise that you have to spend money to make money, fundraisers should be supported, developed and nurtured - not bullied and burdened with unrealistic targets. This Is why we are losing people with potential; this is part of the problem ."

The fund raiser will need to build relationships with donors and potential donors which means having an intimate knowledge of the arts organisation, its vision and mission, Its projects and programmes and its beneficiaries as well as of the donors, their priorities and programmes, timelines, as well as their decision makers. This will enable the fundraiser to deliver the exact message from the arts organisation that also benefits the donor. "A successful fundraiser has a thick skin, a soft heart, exceptional hearing, a quick mind, a slow tongue and no shame" by Robert DeMartinls The fund raiser is not the treasurer of the organisation whose work is to do with bank accounts, monitoring project costs and operational costs, controlling expenditure, keeping accounts, reporting on income and expenditure to the organisation and its board. The treasurer is however an important member of the fundraising team! Whether your fundraiser is inside the organisation or contracted to it, he or she will need to display a number of characteristics as shown in the table - check to see if you have those characteristics. "We should never forget that no Fundraislng effort ever succeeds unless one person asks another person for money". Andrew D. Parker Jr.

ARTS FUNDRAISING TOOLKIT- 97

...

TooL.. Rate your Fundraising Skills

RATE YOuR FUNDRAISIN6 SKILLS

HAVE

DO NOT HAVE

COULD DO BETTER

Enthusiasm and cot'Mlitment The ability to ask Persuasiveness Confidence/dealing with rejection Persistence Truthfulness Contacts 600d organisational skills 600d SOCial SkillS Imagination and creativity Opportunism

Source= Botting and Norton, 2001=21

Now that you con see which skills you may lock, you con focus on what to do about this: • Assess your strengths, so you concentrate on doing the things you ore good at. • Learn what skills you need to acquire, and set about obtaining the necessary training or experience.

98 - ARTS FUNDRAISING TOOLKIT

• Inform yourself about fundroising by working through this toolkit. • Follow up on the further readings in each section. • Find ways of compensating for your weaknesses by getting others to help. • Build a team around you.

-1 X )(

TipS...

)(

'X)

Top Tips for the Fundraiser

Look professional GW1d act professior~ally. Speak W1th er~thusiasm, excitemer~t ar~d COriViCtion for ~ur cause, or ask someor~e who con. If you seem disinterested, the d0r10r will be disinterested. Do not osk for a gift, offer them an investment opportuf"'ity, cor~vince them why they need to support the cause, rather than beg them for mor1ey. l

Network, r~etwork, r1etwork!!! Attend events, speak to everybody, and make friends and cor1nections.

Fundraisir~g

ofter1 starts with who you kr~ow.

See everyor~e as a donor. Donors are not only big compar~ies with lots of mor1ey. lder~tify

people who can cootrbute to your cause b!::l volunteerirlg. provi<::lif"'g spot"'SSrships

and St-ICh.

Develop a strategy. lcter~tif!::j possible donors arid prepare your approach DiverSif!j! Do rot put all your eggs ir~ ooe basket. Approach man!::! donors for different dOncltiOfls lik.e fr1GiteriGIIs and/or equipment, not Ot1ly cash dOncltiOrls. Pay atter~tâ&#x20AC;˘on to calls for fundir~g if"' the r~ewspapers arid other mediC\. Look arid lister~. Look for dooors arid listen to their r~eeds and COf"\Cems. Sta!::l educated or~ the development sector by accessing informatioo from established orgar1isaticns, reacting relevar~t publicatiOI'\S (including free fr1Giterial on-lit'le) Glf"'d gair~ing access to free government documer1ts. Source: Donor Directory for Developmer~t: a resource for the non- profit sector in Cape Town, 3rd eelitiOV1, City of Cape Town

ARTS FUNDRAISING TOOLKIT- 99

...

TooL .. Planning a Fundraising Strategy

A funaroiSir'lg stroteg!::J sets out whot on orgoniSotion's fur'ldir'lg r'leeds ore likei!::J to be, over Cl future period (SCI!::J o !::Jeor or three !::Jeors) Clr'ld outlines how the orgoniSCition ir'lter'ldS to roise the mone!::J to meet those needs

oro whot it w~l dO ot the end of thot period. Workir'lg

out Cl strc:~teg!::J ond t hen writing it dOWr'l will help the orgonisotiOr'l reoch its gools Cll'ld provide Cl record of whot hos bee11 successful in the post CIS well CIS providir'lg recommer'ldCitioos for the future.

A writter'l stroteg!::j. ltke o buSir'less piCir'l, should be o

useful workir'lg docume11t, r'IOt just Clr'IOther piece of poper which is writter'l Clr'ld ther'l forgotten obout. Wher'l

~ou

r"~Umber

stCirt to droft

o fur'ldrCiiSir'lg stroteg~ the orgor'liSCittoo r'leeds

to Clddress Cl

of questiOrls.

Whot ore the oims of the orgor'liSCition? (You r'leed to keep these ir'l mind; it's omoz.ir'lg how eCIS!::J it is to forget them). A short swtemer'lt, ofter'l coiled o 'miSSioo stoteme11t' iS useful CIS well os ochieve

2. Whot ore

o set of 'strotegic' oims. i.e. ke~ work priorities to

overoll oims.

~our

current objectives? I.e. whot ore !::JOU ploMil'lg to do to meet

the oims? How dO ~ou piCin to develop the orgonisotion? Whot new projects dO !:JOU wont to set up"' T his is sometimes coiled o business pion.

:3. Check Clims ond objectives. 6o bock to !:JOur oims Clr'ld check thot !:JOur objectives ore worki11g

towc:~rcts

meeting the Clims.

4. Consider eoch objective seporotei!:J

ona work out whot resources !::JOU need to

fir'ld. Ther'l drow up Cl budget.

5. Work out whot sort of mone!::J !::JOlA need. This .s coiled drowing up Cl budget. Is it 路 CCipitCit or rever"~Ue"' 路One-off or ongOing"'

路A torge oro smoll omount? Remember mooe!:l is not necessorii!::J the oni!::J WCI!j to get something -

!::JOU might be Clble

to top into Cl free serviCe or fir'ld help in kind (giftS of moteriols for instCince) thot might save hoving to roise the mooe!:l.

100 - ARTS FUNDRAISING TOOLKIT

b. Thlri:. obout where to go for it - possible sources · Stat~Ator~ bodies- the national o.rts cout'lC~. nati0t'1GII90verrvneflt. • Special f~AndS e.g. govemmeflt initiatives, povert~ red~Action bl..ldgets. Iotter~ · &.siflesses. · Roise it ~ourselves. 7. Plo.fl O.fl exit stroteg~. If ~ou ore appl~iflg for mofle~ for Iotter~

o. fixed term, for exo.mple o.

gro.flt for three ~ears. ~ou w ill fleed to show f~Aflders who.t will ho.ppefl at the

efld of the h-lfldiflg. Will the project close? Will OfiOther orgo.fliSotiOfl take it over? WiR ~ be app~f19 for more fufldirg?

8. Decide how ~OIA are gOing to f~Afldraise. CofiSider the skills of il'\dividuol members of ~our orgaflisatiOfl and divide ~Ap the tasks. You mo.~ fleed peOple who Wfl

·Write well · Prepo.re bl..ldgets · Speak to functers ·Persuade peOple of the val~Ae of ~r scheme(s) e.g. Councillors, COUfiC~ officers · Keep faes/records • OrgCtnise eveflts. raffles, etc. The best wo~ to do thiS ma~ be to form o fiAndrOiSing committee tho.t cOl'\ S~Apport eo.ch other Ot"d see trot ever~thing gets dOfle. Hotvever ~ decide to dO it remember co-<Jrdt"GGtlOn iS essefltilt ~ou must updo.te eo.ch other regulo.rl~ Of\ whot's beefl dOne C1fld whot the reSlAits ho.ve been

Review ~our strateg~ Y01.-1 should aim to review ~our strateg~ ever~ 12 moflths or so. Ask ~ourselves: Does the plafl fleed revising? Is it too ombitious? Do we need more help or training? REMEMBER. .... KEEP RECoRDS You need to keep o. vvrittefl record of who ~ asked for who.t, when o.nct who.t their reSpGfiSe was. You should keep capies of ever~ letter that yo..t send blAt ~ might also wo.nt to dO a S~Ammo.r~ on one sheet. The records w~l help yo..t decide who to ask for what in f~At!Are o.nct whot was a wo.ste of time

afld

effort.

if an organisation funds ~ou once, there's a good chance the~'ll dO so agoin (unless the~'ve specificall~ said the~ will not).

ARTS FUNDRAISING TOOLKIT- 101

6ET INTO NETWORkS You need to koow where to find out about ful'lds, ond keep in touch. That wo!:1- if o 1"\eW pot of mooey comes up you will be sure to fil"\d out obout it. While you do not want to be 'money-led' you do need to explOit oppropriote funding sources to the fullest extent. You need to toke Odvor1toge of all appropriate sources of money/resources to meet your objective, when they ore available. Mak.e sure your organisation is on the moiling list for any relevor1t r1ewsletter- maybe a Council for Voluntary Service/Voll.mtary Action or similor ager1cies. There are an increosing number of web-based resources offering information, links and searchoble datoboses arour1d the topic of fur1ding. See www.fundroiSing.co.uk./ or www.firot'ICehuhorg.uk GIS exomptes. Some Sites are free, some are subscriptioo Ol'l(y. BE REALISTIC You fnGIY k.I"'IW that what your project 1"\eedS is three workers, a purpose-bu~t centre, G\1"\d $40,000 per year runl'ling expenses, but you should also k.oow thot you're oot

gair1g to get it - oot to start with ot least. Nothing iS more depreSSil'lg than fa~ure so, within your strategy. fr\G\ke sure your tor gets are achievable. Break down your target into Sfr\G\IIer amounts. BE IMAGINATIVE BE INFORMED - ar1d you will fir1d that fundroiSir'1g iS not just a matter of luck.. USEFUL BOOKS Find the Ful"\ds,

o New Approoch to Functroising Reseorch. by Christopher Camie, pub.

DSC/CAF, 2000, £1b.%, ISBN ~78 1 ~00360 54 8. Ful"\drOiSing Strateg~ by RectmOI'ld Mullin. pub. CAF /DSC/lFCM, 21"\d ed., 2002, £22.~5. ISBN ~78 1 ~03~~1 22 &.

Preparatioo for Ful"\draising, by FrGII'lk. Opray. ~uick 6uides series, pub. Wiremill, £5,1SMN q78 1 ~05053 15 5. Perm,SS4oo to use G\1"\d mod•fy thiS leaflet oo PiOMtng a Ful"\drats.ng Strategy from FunderFinder Jul"\e 2008 at www.ful"\derfil"\der.com

102 ·ARTS FUNDRAISING TOOLKIT

!"#$"%&'&(")*&+&,-./+01200345++&16'76++&28+2&0!&."9:&++D& ;

;<=(<>?*:

;@ ;!@

6. CHOOSING YOUR FUNDER 6. 1. The Players

gains from the resources and the resulting p roject /programme.

Choosing your funder Involves three p rincipal players: • the fundraiser who assists in selling Ideas to the donor • the donor who p rovides the resources to enable the work to happen • the target group/beneficiary which

It Is always Important to remember why the funds are needed. In this way the fundraiser1 arts organisation enters into a partnership with the donor to ensure that the a rts and culture project is delivered for the benefit of the target group/ beneficiary.

Figure 12: The Three Players

+. The process by w hic h donor fund ing reaches the local NGO a nd the ultimate benefic iary is clearly a lot more complicated than the above picture shows. We have already seen that international donor governments channel their money through offic ial government agencies, other international dono r institutions (the UN, the World Bank), their embassies a nd through their own domestic NGOS o r development institutions using various mechanisms such as framework agreements and partnerships. In some countries, intemaHonal funding goes d irectly to the non-p rofits a nd the NGOS (such as in Cameroon) w hilst in others this is c ha nnelled through government departments (such as in South Africa). In some countries government funds go d irectly to the non-p rofits a nd NGO sector while in others it passes through government

agenc ies with specific mandates. It is important to understa nd the local funding landscape and to p itch your a rts projects appropriately. The table below illustrates some of the ma ny ro utes that funding can ta ke and suggests tha t there are four tiers of fund ing: 1. The originators of funding suc h as government, international donors, corporates and individ uals. 2. The agencies thro ugh whic h funds are c ha nnelled a nd which in turn facilitate the d istribution of those funds (Natio na l Arts Councils, Film offices, Lotteries). 3. The applicants to the funds (eg. a rts o rganisations, NGOs, theatre o rganisations, film festivals). 4. The ultimate beneficiaries of the funds (eg. the a rtists, the community).

ARTS FUNDRAISING TOOLKIT - 105

Figure 13: Four Tiers of Funding

Origin of al funding

Dls1ribut1ons of funds

Fund applicants

Target group

Source: Adapted from Corporate Social Investment Handbook. 2003 Remember that each donor may have a different model or approach to involvement in your programme or project. For example. some may choose to be fairly "hands off" and others may want to be involved in decision making structures. We have a lready discussed the role of the fundraiser and what makes a good fund raiser in Section Five. Now we need to answer the following two questions: l . How do you choose the tunder? 2. How do you ensure that the beneficiary gains? 6.2. How does the Fundraiser Choose the Funder? In many respects a funder pre-selects itself since they support the arts and culture. a lready work in your country. they are known to you or their criteria directly matches your intended outputs and outcomes. It is a lways useful to remember:

106 - ARTS FUNDRAISING TOOLKIT

if you do not qualify, do not apply! There are a range of questions you will need to answer to assist you in choosing your funder and assessing whether you do in fact qualify. These are • Who is out there? • What do they fund? • How do they fund? • How much do they fund? • What is the average size of a grant and what is the maximum and minimum amount funded? • How long do grants typically run for? • Do their needs match your objectives? • Have they funded organisations or projects such as yours in your country or elsewhere in Africa? • What are the trends for this donor? • Arts and culture as a core area of interest i.e. 'arts for its own sake' • Arts and culture to realise social objectives • The place of its arts and culture focus in the overall set of issues for the donor

Depending on your organisation and your project It might be helpful to know how the funders work to help you make a good choice: • Are the criteria for choosing organisations to support clear? • Have they ever supported a project such as this one? • What is their track record for continued long term funding (3-5 years)?

:- l )(

TipS ...

)(

• Do they have clear indicators of success? • Do they require detailed budget line reporting? • Does the funder have appropriate and effective monitoring and evaluation systems • What support systems do they have In place? • Does the funder require matched funding?

l'X.

For Choosing your Funder

Top Tips for Choosing your Funder= Know and understand the broader funding environment Know which donors operate in your country and in your sector Maintain an up-to-date donor profile Diversify your funding through careful identification of funding opportunities Follow the trends in the donor environments Formulate a strategy to approach donors Investigate a wide selection of sources and types of funders

Do your homework:. and be prepared For most donors, the criteria for support iS clearly stated on their websites as can be seen in the example of Doen.

ARTS FUNDRAISING TOOLKIT - 107

Example... Criteria for Support from One of ARTerial Network's Funders, Doen

~N FOUNDATION

Principol Office

Netherlonds

Website Address

http://www.doennl/

OrgonisotiOnell Cotegor~

Founctotions ond N60s

PurpOSe Md ProgrM\ Areos

The DOEN FounctotiOn funds sustClinelble entrepreneuriol projects trot enClble peOple to be octivet~ involved in society. DOEN is fit10nciGIII!:j Clble to do this in its role os the receiving funct of three Dutch chClrit!:jiOtteri€S.

DOEN hCls the following progrMl Clre£lS: SustclirlOOie Development; SociCII CoheS4oo Culture; onct Welfore.

The Founctotien's interroti0!'1Cll work is f~Arlded fr001 the Dutch Postcocte Lotter!:lo with Cl fOC~AS on the progrMl or eo of S~Astoinoble Development. In this progmm, DOEN oims for socio-c~Aiturol

or.ct economic development feoturing o strong

business bose ond Cl cleor ecologiw l component.

DOEN srotes its polic~ to use subsidies (gmnts) where neceSSClr!:j. or.ct loons where possible.

108 - ARTS FUNDRAISING TOOLKIT

lrlterests ir'l the tnterrotiOrlol Green

PrOductiOrl ond Con.sumptiOrl= PrOductiOrl and marketing of

Sector

tifrt>er, coffee, cocoa. pOO"n olii'W'Ierols, and other cOrllrl\OditieS whiCh meet environ.mental. ecOI'\Ofnic, and social criteria.

Climate and Energ~= Energ~ efficienc!:j. compaigns agc:1inSt global warming. and affordable and fair energ~ solutions for developing cOtAntrieS. 6eogrophical DistribtAtiOn of 6rant

Worldwide

Activities in Developing COtAntries Who Can Receive 6rants?

AppliCants to DOEN are private. public, at'\d independent legal entities. The FOtAndation. funds small and large projects, programs, and orgMiz.atiOI'\S

T ~s of 6rMt SIApport

T echnieal assistance. ed\..icotion. and capac:it!:jiM!dlng

Examples of Recent Grants

ru fr"lbl to the El-een Devetopment f<:M"da\:1()1 (Net:herb-ds) for its program to improve inComes of small-scale coffee growers in Latin AmeriCa, Africa, Md Asia.

€:35.3 t.housl:.-td to Sawit Watch (h:toneS40) to GISSiSt local c0r"nt'l1Urities r~ thet negotiato'lS With palm Oil c~s Glnd the ~SiOn government in

matters of lond-use rights Ofld pdicies.

€78 thousand to Forestrade de 6\..\atemala SA (6uatemala) for prodtAction and fair trade of organic coffee. 6rant Siz.e

There iS no minim~Am or maximum grant Siz.e. DOEN's usual potic~

Program Siz.e

iS to fund up to one-third of a project's btAdget.

In 2008, DOEN provided €18 milliOrl for programmatiC lASe in S\Astainable Development and Social Cohesion. Sustainable Development iS DOENs largest program.

ApplieatiOrl tnformatiOrl

&GWit seel:.ers send prelmM'!:j proposols to Cl<:EN that inei\Ade S\Arllf'tlOries of the objectives Md con.tent of their prOpOSed projects, incltAding rOtAgh b\Adgets. DOEN decides whether to accept the prOpOSalS for h..rther conslderat:IOr\ tf necessar~ appliCants are reqtAested to provide more informatiOn. If the result at this stage ref'rlGW1S positive, the wcabon. iS Sl.4bffltted for a final deciSiOn.

ARTS FUNDRAISING TOOLKIT- 109

AppliCGltiOrllnforr'I"'GGtiOn

DOEN's webSite provides ,nforr'I"'GGtiOn on its gront--1'r1Ciking criteria, terms, and Cond1tiortS. It olso provides a form for the prelmnar~

proposal

AppliCations ma~ be submitted to DOEN thrQ~Agho~At the ~ear, and there are no deadlines.

r:x:EN posts freq~Aent1~ asked questiO'\S (FA0..) for grant seekers,

as wei as COOfAete contact t'1for~t:k)) for itS of-fees n Amsterclam F~Anding RestrictiOnS

DOEN FO\Andation does not: · Fund projects or organiz.ations that are direct!~ finOt'leed b~ the Dutch PostcOde Lotter~ Sponsor Lotter~ or

Bank.6iro Lotter!:f · Support projects or organz.ationS of a pronour.ced ~

or relicp6 nallA"e, or trose vv1th a plf'~ rowner~ objective; · Fund projects or organiz.ations that are large!~ stateSl.(bSidiz.ed; · Support health care, construction, or scientifiC research; ·

f~And

scholarShips. trainee pOSitions, stud~ trips, or swdent

exchanges; ·

f~And

independent ed~Acational and consciO\Asness-raising

activities; · Fund seminarS, conferet"'CeS, or debates; • Fund independent Hms or documentaries, ~Anless the~ are explicit!~ aimed at one or more of DOEN's areas of work;

• Fund independent publiCatiOnS or prOd~ActiOrl of books, magaz.ineS, CDS, CD-ROMs, videos, and related media; · Provide emergenc~ aiel

11 0 - ARTS FUNDRAISING TOOLKIT

COt'M'Ients

DOEN's webSite iS avlliiGible irl Dutch ot'ld portl~ irl EngliSh.

The F<MldGltiOt'lliSts its recentl~fW"'ded projects in itS Glt'lt'IUOl reports ot'ld on its website, offering o useful g~Aide to the activities important to the Fow1ctation.

DOEN FO\Andation at'ld Triodos Bank rnaft'ltain a partnership in the form of the T ridos-Doen Foundation. T riOdos-Doen invests in microfinance it'ISti!MtiOt'ls irl Latin America, Africa, As'O., and Central and Eastern Eurape. TriOdOs-DOEN applies

a "green sector" orientation for rnon~ of itS loons and equit~ irlvestments.

DOEN fut'lds a sub-progrom W'l Sustalt'IOble Development on nature and envirOt'lment However, the geographical focus iS the Nethertot'lds at'ld Dutch Antilles.

ARTS FUNDRAISING TOOLKIT- 111

l)C

TipS...

)( \

iX1

Top Fundraising Tips

Moke sure thot your propoSCII iS designed to meet the swted

r~eeds/requirements

donors, riOt the needs of the orgonisotiOrl. 2. Ensure thot you understond how your donor(s) would like to be ocknowledged for their contribution; do not ossume thot every0r1e will hove the some preferences.

:3. Try to diversify your funding sources CIS much CIS possible to reduce dependency on Cl Single dOI'\Or. 4. Record Clrld trock the proposols thot you hove sent out Clrld the contocts thot you hove mCide ot networking Clrld other events. 5. Reseorch ond piMnir~g your project, os port of droftir~g your proposol, iS on imporront step ond you should toke the time to do this well.

b. Motivote the reoSOI'\S for your project well Md ensure thot these reosons motch the stote objectives of the torgeted dOI'\or.

Source=Adopted from Free Monogement Librory http=//moMgementhelp.org/blogs/fundroiSing-for-nonprofitS/2010/05/111 honk%E2%80%CJCJs-top-ten-fuooroiSing-%E2%80%CJCmusts-1-5/

Ministry where Arts and Culture is based.

6.3. What Types of Funders are in Africa?

Various sources of funding have been grouped into six major types of donors to simplify the landscape and to make it universally applicable to most African countries.

2. Government Agencies

• • •

1. Governments: National to Local levels

• •

National Government funding through various departments and in some instances through a dedicated Department of Arts and Culture or

112 - ARTS FUNDRAISING TOOLKIT

National Arts Councils National Lottery Funds Any other government bodies such as film commissions or craft coordinating bodies. Government funded business to arts: e.g., Business and Arts South Africa (BASA ): it has a supporting grant scheme to develop business sponsorship of the arts.

3. International Government Agencies • Government funding agencies distributing official development assistance (ODA) to domestic nongovernmental organisations (NGOs) in general and in the arts In particular (for example, United States Agency for International Development USAID), the UK Department for International Development DFID, Irish Aid, DANIDA NORAD, the Swedish Interna tional Development Coopera tion Agency (SIDA) International aid organisations such as the Canadian International Development Agency.

4. Embassies or Consulates 5. Corporations and Philanthropic Enterprises • Private sector (companies) I sponsorships • International corporations: for example, Coca Cola Company, MTN, Sasol

• Local corporations: for example Cell phone companies. banks, mining houses, manufacturing establishments • Foundations: for example, Kellogg's Foundation, Ford Foundation, Getty Foundation, Rockefeller Foundation

6. Individuals • Philanthropists (private Individuals) • Patrons "Overall it has been found that the better schemes have managed to ensure clarity over the choices of NGOS to a llocate funds; have shown a commitment to quality through participatory development. monitoring and evaluation; and have maintained a focus on strategic goals which are relevant to the needs of poor people In developing countries.· (Pratt Adams and Warren, 2006:23)

ARTS FUNDRAISING TOOLKIT- 113

CC\Se Stud~··· BUSINESS AND ARTS SOUTH AFRICA • Facilitating Corporate Sponsorship of the Arts

Business ond Arts South Africo wos estobliShed as a joint initiative of the South African govemment (The Deportment of Arts and Culture) ond the privote sector in 1'l'l7. It is a not-for-profit company "whose prit'rtelry aim iS to promote mutuolly berleficiol Ond sustoirloble business-arts portnerships that will benefit society as o whole". T odoy Business and Arts South Africa hos more than 1b0 corporate members. Previously the corporote sector spent funds on the arts from their Corporote Social Investment budgets or their philanthropic budgets. Business and Arts South Africo hos assisted the private sector to understand the benefits of arts sponsorshipS or orts partnerships from the marketing or prornotiOY\G\1 budgets. This, they argued would help cornpcm,es communicate with their target markets and cUents more effectively. As BuSiness and Arts South Africa soy: "The

arts are l..tt'1iquel~ piOCed to serve both phb'lthropc. corporate it'nage building and commercial obJectives, and the sheer range of options avaitoble through the arts d~s attentiOn". The rde of Business anct Arts South Africa iS to act as a linKing mechonisrn between the private anct arts sectors so that each iS able to maximise the benefits from these partnerships.

Busil"\ess and Arts South Africa believes thot itS work. in developing and sustain4ng business arts partnerships will be beneficiol to the w ider

communit~

as well.

Busil"\ess and Arts South Africa plays an important role in facilitating effective partnerships between the private sector and arts organisations. Some of these include:

114 - ARTS FUNDRAISING TOOLKIT

Helpirlg businesses identify appropriate sponsorship opportu~t.es in the arts; Lobbyit1g for a better tax dispensation for companies that support the arts= Providit1g OppOrtunities for Companies to partiCipate in social responsibt1ity programmes in the arts sector; Cond~Acting

research into local and international trends in sponsorship;

Access to information, r esearch and impartial advisor~ service; Facilitating networking among business sponsors of the arts; Distrib~Ating

relevant information on the arts and business;

Hosting seminars to educate new and existing arts sponsors of development within the arena; In association with Business Da~ and Anglo American, funding a prestigious annual awards event to recogniz.e the contribution; of sponsors to the arts; Providit1g access to events especially organised for Business and Arts South Africa members; Pubtictty and marketing opportunities through carefully selected media partners including Summit TV; SAfm (the 'Create' slot), Ractio 1485, OFM and Classic fm; Faditating Boordbank SA. allowing business professiOnals to easily access and play a rote in arts organisations that require board members. Research, over and above that offered by Business and Arts South Africa can be commissioned.

BuSiv1ess and Arts South Africa charges its members a sliding scale of fees based on the Siz.e of the company so for example a company with over 1000 employees Will pay about $2:300, a small compan~ of tess than 4 ~ employees w~l pa~ ant~ $214 which is the same fee that individuals within compa~es pay to become members of Business and Arts So~..~th AfriCa See Supporting Grant Scheme Application at www.basa.co.z.a

ARTS FUNDRAISING TOOLKIT -115

I \

...

TooL.. Funders of ARTerial Network

AFRICAUA When art Mel Cl-\lture f iOl-\rish. peOple are concerned with

more than simpl!1 Sl-\rviVi!'1g. After all, these preoccupations involve standards and values. dialogue with other people, the past anct future. the wa!1 people look at themselves Mel the world around them. Art and culture contribute to creating awCireness amor,g people. their Sl-\Stainable development Md the establishment of stable societies. Africalia aimS to make a cootributiOt"' to sustainable human developme!1t cooperatiOn based on this thinKing. Not on the baSis of what Europe considers necessar!1 or useful blAt what iS deemed deSi'Clbte b!1 people and orgoosatiOnS in AfriCa Afriealia Cllso wiShes to draw pubic atte11ti0n to cont~ar!1 Afriearl art and culture. partiCulcKI!111'1 Be!g;.Mn. www.afriCaliabe

DC.CD Danish Cet1ter for Culture and Developmet'1t (DC.CD) promotes cultural co-operatiOt'1 between Denmark and the developirlg cout'1tries it'1 Africa, Asia, the Caribbean, Latit'1 Americo, and the Middle East through: Presentati01'1 of art and culture from the develOping countries in coeperati01'1 with partners in Det'1mark Mel Clbrood lt'\forfr\(.\tiOr\ and advice obout cultural ex~ and coeperatiOn

AllocatiOrl of fut'1dS for Danish cultural coeperatiOt'1 with develop11'1g cout'1tries Co-ordit'1ÂŁ11:i01'1 and implemet'1tal:i0r1 of festivals in Dervnark for

the developit'1g worlds cultures Foc~itatiOrl of

capacit!1 bl.l~dit'\g withtt'\ the cultural sector in

the developit'1g COU1'1tries as well as presentation of Dar1ish art Clnd culture. The ce11tre provides the framework for large initiatives such as the Images festivals and information projects.

116 â&#x20AC;˘ ARTS FUNDRAISING TOOLKIT

DOEN DOEN Fa.n::tabOn works towardS the ochievement of a ~vo!Xe world il'l which ever~e has a place. Acttng withil'l its four fields of operation of Sustaii'\Oble Development, Culture, Welfare and Social CoheSion, it provides subSidies where necessar~.

and arranges loons and e'luit~ investments where

possible. DOEN Foundation achieves its objective through the revenl.-leS it receives from the Dutch Postcode Lotter~. the Sponsor Bingo Lotter~ and the Bank6iro Lotter~. www.doen.nl

...•. ....

•

EUROPEAN COMMI5510N Among all its activities, the European C(){M)tSSion awards mane~ in

the form of grGW~ts il'l order to implemer'lt projects

or activities lt'l relatiOn to Europeanlhon poliCies. These grants ma~ be awarded withtn ftelds as dtverse as reseorch, educatiOn, health, consumer protectiOn, protection of the environment, humanitarian aid, etc. The grGW~t benefiCi?ries ore ~~ private or pu.ljie O'gar-iSOtionS, CVd exceptK)(d~ ~. chosen~ the Eurapear1 CClt"r'fr1SSiiO for thet capocit~ to implement the projects concerned.

HIVOS and its African partner - the Africa Centre in Cape Town - submitted an application to the European COmmiSSion C!fter it iSSUed a call for opplications along the thet'l')e of "Investing ir'l People= Access to local cultl.-lre, protection and pr0010tion of cult:Mral diVerStt~•. This application was submitted ir'l earl~ 2008 under the title "Lirlkirlg creativit~ and buncting c~cit~

for cultural diverStt~ irl AfriCa·. GW\d the European

CommiSSiOn has approved funding of 500 000 Euros over three

for this progromme.

As grar'ltS are macte with publiC mane~ the Europeoo COfnmiSStOr'l applies the principle of trOr'ISparer'ICy. For more ir'lformation about the EU please viStt their webSite http=/I ec.europa.eu/

ARTS FUNDRAISING TOOLKIT- 117

people

f-{iv~~·d

I-IVOS Hivos iS a Dutch noo-govertVnental orgMsatiOn irlsp.red by ~t values. Together Wtth local organisatiOnS in developing

countries, Hivos seeks to c01'1tnbl..lte to a free, fair and sustainable world in whtch citiz.ens - women and men - have e(\ual occess to the resources GIY1d opportunities for their development. And where they car~ actively and equally participate in decision-making processes that determine their lives, their society ar'\d their future. www.hivol.nl

• • •• •

m1meta

MIMETA Mimeta was launched internationally dUring the 4th World Wt'M'lit 01'1 Arts and Culture irl Johamesbl..lrg, South-Africa. This iS the f irst NorwegiGin orgMsatiOO specializ.ing in the sector of Culture & DevelOpment. As cultural expressiOnS engage the publiC Gll'1d c01'1tribl.lte essentially to democratic develepment. Mmeta supports culture projects and accomtl'lOdates cotlaboratt01'1 WI pr0dl.lcti01'1, exchange. sharing and COfl'l(l)UnieatiOt'\.

WWW.tnifoetaorg

Mimeta iS an advocate for cLAiture cooperation that do= · Support of art and culture projects in cooperating COUt'\trieS · Presentati01'1 of expreSSiOriS with origin irl cooperating countries · Facilitation of wltural exchange THE COMMONWEALTH FOUNDATION Commonwealth

Foundation

The Commonwealth Four'\datiOO is an intergovernmental organiSGitiOr1 set up almOst fifty years ago to make civ~ society stronger. They work on behalf of the people of the COtnmOt'1wealth of NatiOOS, a vOII.Antary GISSOCiGitiOrl tOday spamng 54 countries, Six c01'1tinents Gll'1d almost a third of the world's populatiOn The F~ exiSts to et'rflC"Ner cmitieS, fiOt'l-gOVerrvnental organiSGitiOI'IS, prOfeSSIOnal aSSOciatiOOS, trade LAtiOnS, faith organisations ar'\d wltural practitioners; the lifebloOd of any healthy society. They eql-lip these organisatior~s with the

118- ARTS FUNDRAISING TOOLKIT

tools requi'ed to cOfltrib.Ate to rotiOflol Glt'\d irltemotiOflol gOOS of democracy. gOOd governMCe. sustorroble devefepment

and cultural diverSit~. The~ also award excellence in the arts and help to tnffuence

key policy-makers. The~ champion, develop Clnd invest in ClctiVities that enrich and strengthen societ~ and oct as a vital resource for Commonwealth people, enabling them to rClise their voice, instigt:lte change, Clnd fashion Cl better world. http=//cornrnonweC~lthfoundatiOfl com/

Other Important Funders for the Arts in Africa

WAFFoRD was founded as a Ul< registered charit~ in 1<¥l4 b~ an organisatiOfl of AfriCans in the

Ul<, •n reSpOfiSe to

concems. that despite the vast number of Africans irl the U<. who organise themselves and contribute to Africa's development. Afriwns were effective!~ morginalised from mainstream development activity directed towards Africa. There was also Cl realiz.atlon that different Africans can and should learn from each other. Its strategic goals are: Enable ~ung people in Africa to live in hope and dignity b~ securing decent jobs. mainl~ through their own enterprise Work in transparent wa!1s with partners around shared values and goals

• /v:Jd. volte to !flUt"g people's own efforts rather th::1n in-flOse their own • COfl'lbine AfriCan diOSp<lra resources and home-based resources to SUpport ~ng entrepreneurs in AfriCa

Support African entrepreneurs irl fOOd & creative/cultural ir1ciiAStries to expand markets among African diaspara consumers for win/win of jobs in diaspora and Africa. www.afford-uk.or9

ARTS FUNDRAISING TOOLKIT -119

A6A KHAN FOUNDATION (AJ<F) The Aga Khan Foondat.on (AJ<F) foc~.~ses on a small number of SpeCific develepmet1t problems b!:j forr'l"'ing irltellectual and f~ial

p<:lftnerships with orgMisationS sharing its objectives.

Most FO\..Indation grMtS are made to grassroots orgarisations AGA KHAN FOUNDATION

testil"'g ii'11'10vative approaches il"' the field. The Fout"'datioo iS largei!:J an implementing organisation rather than a grantfl.lndil'1g agenc!:l- 6rMtS are normaii!:J given to local organisations irlterested irl testing 1"\eW SO!lAtions, in learnil"'g from experience and irl being agents of lasting change. The focus iS health, educati01'1, rural development and the strengthet"'ing of civil societ!:j- With few exceptionS, the FO\..Indation funds programmes in countrieS where 1t has off.ces and local profess;:m staff to l'rO"itt' ~t:.at:k:)) (St.b-5crÂŤCW1 A~} There are no for~ applicatiOn proced.Ares. Before developing f1.1U proposals, el"'q\Aines shoold be made to the FO\..Indation office in the cO\..Intr!:j where the proposal originates or where the project woold be executed. A precOnditlon for fund11'1g iS the existence of an off.ce, IV1 the same cOl.lntr!:j. whiCh can evat1.10te and monitor prOJects f1.1nded. www.akdn.org

m,_

art africa

moves

ART MOVES AFRICA (AMA) is an international not for profit organiSation aiming to facilitate wlwral and artiStic exchanges within the AfriCan continent. AMA offers travel funds to artiSts, arts professionals and cultural operators living and working it1 Africa to travel within the AfriCan continet"'t in order to ~e in the

exchange of irlforrnatiOn, the enhancement of skills, the

developme1'1t of informal t"'etworks and the p~.~rsuit of cooperatiOn. NitA SUppOtS md:liit!:J Witl'W1 the AfriCan conti'1et"'t b!:J providing the costs of travel. Visa and travel inSUrance for the dl.lration of Sta!:j- NitA dOeSfl't support fees, acconvnodationS. or per-d'!efl\ Its objectives are to: â&#x20AC;˘ Faditate regional and trans-regiOnal cultl.lral exchOI"'geS ir1 Africa for indiVidl.lat artists/cl.lltl.lral operators and cl.dwrat organisations and

ei"'COL-~rage

the mobilit!:J of artists and

c1.1lturat professionals to exchMge experiences. information and ideas

120 - ARTS FUNDRAISING TOOLKIT

• Encrurage artiSts and ciAltural operotors to work towards shored projects and artistiC coltoborotioos ocross the

continent Provide the opportunities for ortists ond wttural aperotors to goin more knowledge of the diverse contexts ond the cu!turo! environments of the Africon continent Encouroge independent initiatives, small projects ond porticipotion in highly professiOnol ortistic ond arts manogement workshops, seminars onct residencies for ortiStS Encourage the ottendance of festivols that provide artists and w!turat operators with the opportunity

to gain wider

exposure Ond enrich their own creotivity Develop methoct~ogies to increase occess to informotiOn Ond knowledge on arts and ClAiture Withit'\ AfriCa

www.orttnovesofriCo org

•••

CMidoln

lncarnalional DevoiOpmef\1

Agency

ODA hos mony progrommes thot ore pertwlent to orts Ond culture in Afrieo. CIDA's Pan-Afrieo Progromme gives priority to efforts to reoch Glnd effective!~ implement it'\ternotiOflo! conventions. These conventiOns, or agreements, con help to identif~ S~lAtions to Africo's problems. The~ con olso help to

achieve development goo!s. These gools incllAde reducit'\g povert~.

increosing occess to education Clnd health care, ond

building the copocity of pon-Afriwn orgonisatioos. Through the Pan-Africo Progrom, CIDA works with orgonisotions such

os the Africon Union (AU), the Africon Copocity Building FounctCition. Ond the Forum for Agricultural Reseorch in AfriCo. One of its relevant goofs to the creative econo.t~y iS to free trode onct exponct morkets. CIDA's new Partnerships with Conodions Br0t1eh wiU recogr~~se Glnd SUpport the work of Conodion orgotiSOtiOnS dediCoted to imprOving the ~ves of

those liVing in poverty in ctevelopir\g cruntries. l.h1der 1ts Partners for Development progromme, projects Glnd progrommes thot ore effective, effie.ent, Ond occruntoble w~l

moke a meaningful difference oo the grrund. Working 11'1

portrlership meons thot efforts to reduce povert~ will have positive rutcomes and reflect Canoctian values of composSion

ARTS FUNDRAISING TOOLKIT - 121

Glt'ld coring. It oiSo hos cOW'Itr~ bosed progrornrnes such os the

PIAbLc Engagement F~nd which supports Arts For Peoce in RwC!t'ldO.II'lterested orgon.sobOI"'S need to cootoct the ~ Diplomatic MiSS!Ot'1 in their countr~ or viSit http:/ /WWW.OCdi-Cido.gc CO

ee BRITISH ee cOUNCIL

THE BRITISH COUNCIL r~ns in the arts in order

o rMge of global programmes

to pr001ote creatiVit~ and the development

of the creotive it'ld~Stries. Their gtobol arts team works with the best of British creative tolent to develop iMovotive, high-q~alit~

events ond collaborations that link

tho~sonds

of ortiStS G\l'1d c~lturot it"'StitutiOt"'S around the world, drawing them into a closer relotiOI'\Ship with the UK For exompte, working with the E~repeoo CommiSSiOt'l Glt'ld local government il'\ porticipoting countnes, their Creotive Ot'ld Open Cities programme engages ~ng people in gel'\erating ideas Glt'ld sot~tiOOS

around wrrent ot'ld

f~t~..~re

iSSUes of

pop~..~lotion,

ecor.omic s~stoit"'GGbait!:i- q~..~aut~ of Gfe, 1..1rbon plomng Glt'ld the envirooment. The programme involves leoding UK artists taKing port in workshops with the best of UK creative

~o~ng

porticiponts to showcase the

ind~stries.

The British

Co~ncil r~ns

intematiOMI competitions in the f ields mentioned above in order to encourage cultures of creatiVit~ The British Co~ncil iS not o f~nding bod~. though it does offer some small grants via the 6ronts to Artists and Short Film Sl.lbmission schemes. All their work iS done in collaboratiOn with partners overseas, who provide f1..1nding for work brokered and aU the s~..~pport to creative it'ldi.Astries IYII.ASt cootribi.Ate to the development

of c~ltural retotions between the UK Glt'ld the rest of the world. The fows of their work in the arts differs fr001 countr!:j to countr~ fr001 extef\Sive orts programme to small events. The1r target gro~p is people between the ages of 18 - 35 !:iears Old.

For a liSt of wrrent arts projects see their director!:j on http://www.brit.shco~ncil.org/arts-projects.htm

122 -ARTS FUNDRAISING TOOLKIT

(~ FORDFOUNDATION WotLutrwlth Visionams 011 tltt Frotrtlin~l ofS«Ilzl Clumgr K'orld.,iir

FoRD FOI.NDATION progrMVrtes Oddress rlirle S/gt1ifiCOt'lt social justice issues such as democratiC G\1'\d occountobte govemment, ecCJt'10rl11c fairness ot'\d freedom of ex.presS4on PoSS4bilities ex.ist within these for grants to arts ot'\d cult~Are orgOt'liSGitiOt'1 working to strengthen civtl societ!:1, enSl.lre good jobs and access to services. ex.pond livelihoOd opportunities for poor households 01'\d support diverse arts SpOces to nGifne b~At

a few. To app1!:1 for a Ford Fol..lndation grant the!:1

recommend the following: • Review the initiatives most relevant to !:1oor work. · ReGid their Grant Application 61..\ide (PDF), which describes the grant-making process. · If !:1ou determine that !f>Ur work aligns with their priorities, subrnit a 6r0t'lt lr\quir!:f (Wh11e the!:1 wetcome submtsSiOt'\s,

pteose keep irlll'lirld that the.- fundS Glfe lr'rttted irl relGII:iOn to the Iorge 1'\l.lmber of worthwhtle inquirtes the~ recetve. lrt o t~ 'j81X. less thGin 1percent of ui'\SdK:tted ft'lC\UirteS result

ir\ o grOt'lt.) www.fordfout'\datt0t'1 org

~ GOITHI·INSTITUT

THE GOETHE-INSTITUTE is the Federal Republtc of 6er~s cultural irlSt:itutiOrl operati<Jt'\GII w0!1c:lvvide.lt prOOlOteS

the Stl..ldy of 6ermon abroad ot'\d encOl..lroges international C~Aitl.lral

ex.chMge. The Goethe lnstitl.lte fosters knowledge

obrut 6erm0t'ly b!:1 providing informoti0t'1 on its culture, society and politics. In man~ African cOl..lntries Goethe Centres ore a

SigrificOt'\t part of the arts 01'\d wltl..lre IOt'\dSc~. The 6oethelnstitut works with partners il'l the kt'\Owledge that a thriving culturaliGII'\dscape ot'\d confident orts ot'\d ocademic scenes deciSiVely irlfll..lence the cteveloprnet'lt of a country. For these reGISOt'1S, the 6oethe-lnstitut is cOI'Mlttted to S~Apportir\g cultural Ot'\d meaa plo.'j8YS Ot'\IOcGit:.orl With ttXgeted ec:u:ati0t'1al G\1'\d promotiOnal programmes. Through ttS Culture ot'\d

Development irlitiGitive. the Goethe-Institute emplOys SpeCifiC c0t'1sulting Glt'\d trOirlir\g programmes to promote ir\Stituti0t'1s 01'\d stakeholders from culture, the mediGI Glt'\d societ~ in

particular in cOl..lntries involved in deveiOpt'nent cooperotiort The programmes aim to provide professiOt'\G\1 qualificati0t'1S,

ARTS FUNDRAISING TOOLKIT- 123

to Gldvise OM S!Apport the format.on of regi<>nOI networks OM create cultural and sociOI platforms. The cultural iritiative iS active in four spheres, nc:vnel~ copocit~ development; ed.leatiOnal Clt'\d consultir1g caoperab<l!'\; the creatiOn of cultural spaces as well as cooperation Wtth civil societ~. More information is c.M\iloble at http://www.goethe.de and through local 6oethe Institute offices. L

~ Norad

NORAD S!Apports culture in a !'\Umber of African countries. In South Africa, NorCid SL~pports two music programmes, one in South Africa and Qr1e for regtQr1al cooperation on African muSic. Regional courses have been arronged for a number of muSic teachers. The project in South Afnca has helped to give people from poor and marginalised groups an arena for muSiCal, sociOI and economc development. t.'\oz.ambique has been Ol'1e of Norwa~路s main partner countrtes SinCe 1~77 and iS Ol'1e of the countries that has received the most NorwegiGWl aid over t:ne ~a-s.~ tl\oz.atrbque, t:ot:a development asSiStance

amounts to approxt'natef~ half of the natiera budget. 1\bwa~ has increased its assistance for culture tY\ tlloz.ambique, both in the form of cultural tnfrastructure and in the form of cultural exchanges. The emboss~ has chosen to S!Apport a number of organisatiQr1S, including Umojo, Kulungwana and T eatro Avenida. Support has also been provided for projects

to restore cultural monuments, including on llho de 6oo. In Ethiopia. NorCid has. for instance, supported five jaz.z./pop concerts, cooperation on art and a f ilm show. www.norCid.no

\_~ Sida

Sweden's support to civa societ~ orgCitisattOnS, CSOs, in devefopmetlt cOUt'ltrtes iS Cllwa~ chcwYteled though a Sweash orgMSC~tiOO. B~ supportfr1g the work of CSOs, Sido hopes to

promote the development of a d~ and democratiC civi societ~ and strengthen !owl partrter organsotiOnS. Framework

agreements which last uS\Aall~ between 8 and 10 ~ars exist with man~ Swedtsh organ.sations. Umbrella organisatiOnS prepare and pass on funding applications from their member

124 - ARTS FUNDRAISING TOOLKIT

orgMSatiOOS. These umtxeUa organsatiOr\S S4gt'l agreements and cooperate with organsatiOOS in developing countries.

Exomptes inClude Forum S~. Olaf Palme lntemati0r10l Centre. AfriCa Grot..tps of Sweden and the Swedish COOperative Centre. www.slda.se

@Stromme

'V' Foundation

Ct..tlWÂŁe has its place in (\'\()1'1y of Str0mme FOt..tndatiCWl's projects, both Within edt..tcation and mlcrofinance. Bt..tt throog~1 the Ct..tltt..tre Initiative they also work more specifiCally With cultt..tre. S.tr0mrne Foundation contributes to peeple in the giobol South getting an oppormty to present and upl1ft their own wll:lAral expressiOnS. WWÂŁe iS brOl.lght into processes of development

thrOl.lgh v~es Ike 5terature. fi"MSie, v~ c.-t, media. hancicraft andcl..4tu~ her~ ~y the c\AitueiSan~t

basis for identifteatiOn and for the possibility of change and development happening on people's own terms Culture and development projects PrClfl'lOtiOn of cultural expressions from the sooth International coordination Exchange between cultural sectors S.trlllt"roone Foundation su.pports a project on the Ken~n island Lamu for example. which aims at teaching yot..tng people the old boat bt..tilding tradition that is now in danger of dying out. MYSA and Hobo na haba iS another example of projects they St..tpport. These projects St..tpport sports and cultt..tral activities for youth in Kenya's slum (l('eas. Str0rnme Foundation's Ct..tlture lnitiat1ve is supported by the Mit1iStry of Foreign Affairs, Agder County admtf"iStration onct Cl..4tiva. They~ receive project support from 1\b-Gld thrrugh the Framework Agreement Strfllmme Four\datiOn has offiCes in AfriCa in Uganda. Burkina Faso and Mall. wwwstromme.org

The lhted States AfriCan Developrnent Four\dat!Orl iS an indeperldent Federal agency established to St..tpport AfncandeSigned and African-drivel'\ solutiOOS that address grassroots economic and social problems. USADF provides grants of up

ARTS FUNDRAISING TOOLKIT- 125

to $250,000 directl~ to ui)Cfer-served al'\d margin!lliSed c001tl'l1Anit~ grOI.ApS 01'\d er1terprises. The gr01'1ts help

orgar.iSOtiOr\S create tar\gble ber1efits SI.Ach as ir\Creasing or SI.ASI:CW1ing the rumber of jobs ir1 a comt'rMnit!j. imprOving inCome levels, al'\d addreSSir1g social deve!oprner1t r1eeds.

USADF has two major priorities wher1 COr1Sidering a request for funding a project: Does the application come from an African communit!:j grOI.Ap or organisatiOr\ that represer1ts its owr, development

priorities and includes the participation of the poor in settir\g project objectives? Does the application represer1t a project that cwld provide maximum ber1ef1t to an ui)Cferserved Gl(1d rnarginaliz.ed pOplAiat.on grOI.Ap? Project appticati0t'1S are evaii.Aated Or\ the basis of potential benefits to the cOtl1frMnit!:J. poter1tiat for job creation. workers ir\COfne ilnprOverner1ts, IOt'lg term profitabillt!:} 01'\d fl'o!lnÂŁ1gerial strer1gths Ol'1d capabilities. Other applieatiOf'l seiectiOr\ criteria follow: www.adf.gov

,.....

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Developing a Database of Potential Funders

Develop a database of pOtential ful'lders al'ld update regularl!;t Collect informatioo such as active dooor/ prospective donor/ based in Africa/ outSide of Africa/ corporates/ charitable trusts/ foundations/ institutions/

126 - ARTS FUNDRAISING TOOLKIT

ir~dividuals

TooL.. Developing a Donor Profile

De~te=

DetCiiiS

Follow up

Be~sic lr~forme~tiOfl= Prime~r~ COfltact=

Ne~me

PhOI'\e=

Eme~il=

Donor NG\fne:

Name=

Web address=

T ~e of FuY\der: HeG\d Office= Cour~tr~ Address=

President/ che~irperSOI'\ of

Ne~me=

the Boe~rd= Phor~e=

Email= Fufldiflg ir~fOrf'r\Citior~ for ~our orgMiSCitiOfl: Arts Projects funded previous!~ Year: Budget= Arts projects applied G\fld not awarded: Feedback.:

ARTS FUNDRAISING TOOLKIT - 127

FlAt'\dir~g ir~formatior~ ger~eral:

Arts Projects flAr~dea it'\ ~OlAr cour~tr~: BlAagets allocated for these projects:

Applicatioo

Ler~gth

of time of grar~ts:

Kr~owr~

areas of

ir~terest ir~

the arts:

lr~formatior~: 6uiaelir~es

available:

ApplicatiOn Forms: Deaalir~es

for appticatioos:

Drafted a letter of

lr~ter~t:

Developed a formG\1 proposal? Notes:

128 - ARTS FUNDRAISING TOOLKIT

!"#$"%&'&(")*&+&,-./+01200345++&16'76++&28+2&0!&."9:&+1'& ;

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!"#$"%&'&(")*&+&,-./+01200345++&16'76++&28+2&0!&."9:&+1B& ;

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It is not true that the benefits of the arts are Irreducible and unquantiftable.ln fact every time prizes are awarded, works are selected for performance, performers, composers and writers are ranked or in fact projects are selected for sponsorship, art is quantified, albeit in a particular method. As Bakhshi, Freeman and Hitchen argue this form of measurement Is distinct in two ways: "it sets out to measure the value set on art by the public, as opposed to the gatekeepers, of the artistic community. And it sets out to establish a commensurable estimate of Intrinsic value - one that permits comparisons between alternate uses of public funds" (2008:15). In late October 2006 the Arts Council of England launched a massive research project Into what people think about the arts and arts funding and support in its publications (November 2007) they reported that people mainly see the arts as valuable In: â&#x20AC;˘ Building people's capacity for understanding the world around them â&#x20AC;˘ Enriching people's experience of life and offering an important emotional connection â&#x20AC;˘ Creating links between different communities

Measurement and assessment Clearly sponsoring arts and culture is a commercial transaction which Is meant to bring the partners competitive and creative advantage. As with a ll other commercial transactions, It needs to be measured and assessed so that the sponsor Is clear about the objectives and the Impact and use these measures to inform future decisions. Businesses need to justify their expenditure on arts sponsorships. Evidence is needed to show the value of investing in the arts, and measuring the return on investment is the best way of doing this as "it establishes whether the original objectives of the partnership/ sponsorship were fulfilled, the added value it brings to both partners, as well as ensuring optimal planning and delivery"(Arts and Business, 2009). The following table from the Fundraising Factsheet provides hard Indicators (sales figures), as well as indicators that are more difficult to quantify such as staff cohesion and morale (needing anecdotal evidence and lnteNiews). It illustrates the d ifferent criteria that business and the arts have to Important issues such as money and Impact (Arts and Business, 2009).

ARTS FUNDRAISING TOOLKIT - 131

Figure 14: The Similar and Different Criteria of Business a nd the Arts

ARTS PARTNER MONEY Ticket sates Leverage for other spoY1sors and donation Impact oY1 ancillary income streams e.g. retail. cateril'1g Whether the performance, e)(hibitioY1 etc. could have been put oY1 without a sponsor Reduced costs Skills development of staff ACTIVATION Voluntary labour Hits oY1 the website Audience numbers Profile of audiences New Audiences Repeat viSits and partiCipation Attitudinal shifts New interpretatioY\S or uroerstMding of cultural asset IMPACT AND OUTCOMES Connections to the community Brand recognition Md awareness Reputation assessment New coY\tacts Md networks

LEGACY Standing and reputation in the cultural sector, commtmity. funders and business Regeneratioo effect

BUSINESS PARTNER MONEY Sates figUres Number of en'luiries Hits oY1 website Skill development of staff by participating Impact oY1 other parts of the business e.g. helps with teasing space, il'\Crease in rental prices, etc. Corporate hospitality benefits (take clients to arts and culture activities) ACTIVATION CustomerI audience reach - number and penetration of target market New consumers/ audiences Md level of repeat business Press and media coverage Level of staff ~ment - acted as vOlunteers, attended, etc. Press and media coverage Corporate hospitality benefits Improved consumer and potential il'\vestor relatioY\S Press and media coverage IMPACT AND OUTCOMES CoY\nectioY\S to the commuruty Reputation assessment CommunicatioY\ of brand values Brand recognitiOt'l and awareness New contacts and networks Improved dialogue and cor1r1ectivity across different parts of the business Employee morale and cohesion LEGACY RegeneratioY\ effect/ coY\tributor Encouraged people to have a m-eer ir\ that sector Business rankings e.g. the best places to work teague DifferentiatioY\ from competitors

132 - ARTS FUNDRAISING TOOLKIT

What is the focus of arts sponsorships? Internationally, such as in the UK the focus in arts sponsorship tends to favour museums as the largest recipients of business investment. However the graph below shows a breakdown of business priorities for

the years ahead In their arts and culture section. It shows that sponsorships In the visual a rts and the performing arts will perform strongly. It is noteworthy that arts and culture Is the priority for investment for 64% of businesses responding to the Arts and Business survey (2009).

Figure 15: Business Priorities in Arts and Culture

Breakdown of business priorities (% of respondents)

Visual arts

Broadcastings

Performing a rts

Sports

路 Museums & heritage*

Other charities

Other arttorms

--c禄- 1st priority only

-+- Overall priority

ARTS FUNDRAISING TOOLKIT - 133

The UK survey also showed that the future lies ~In collaboration, partnerships and codonations, where one source of Investment will leverage and catalyse additional support from more/ other sources" (Arts and Business, 2008/2009:81 ). In Africa, the only known assessment of corporate arts sponsorship Is that of South Africa. There, the performing arts such as music, dance and theatre appear to receive the lion's share of arts sponsorships. Music a lone accounts for approximately 50% of all the sponsorship spend In South Africa (R173 million In 2009) with the balance going to all other arts and culture Initiatives (Artstrack research 2009). The 12 d isciplines most supported In South Africa, according to the latest Artstrack research Includes festivals, museums, theatre, movies, traditional dance, crafts, literature,

134 - ARTS FUNDRAISING TOOLKIT

sculpture/ paintings/photography, opera, contemporary dance and ballet. According to the Artstrack research the highest Interests (from most to least) amongst sponsors Is for music, exhibitions, literature, theatre, festivals, choral singing and crafts and while for non-sponsors Is was for music, festivals, literature, exhibitions, movies, museums, and theatre. When asked whether companies should sponsor different arts/ culture activities, arts festivals remained the largest mention (74% of adults). This was folowed in order by traditional dance, movies, theatre, crafts, fashion shows, museums, exhibitions, literature, beauty contests, contemporary dance, opera and ballet. ~ we

make a living by what we get but we make a life by what we giveN. Winston Churchill.

-1 ~ ~

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ARTerial Network's Principles of Funding

ACCESSIBILITY: to ensure that all organisations hove e'\uol occess to the funding sources within conditions of

eligibilit~

ACCOUNTABILITY: Organisations that receive funds - whether public or private - should be held accountable for these funds both from the funders as well as to the beneficiaries and compl!j with all national legislative, polic~ onct finar'\Cial regulations APPROPRlA TENESS: Organisations ore responsive to social. econOf"rric, C~Aitural cOnditioos and have programmes that meet these cooditions. EFFICIENCY: Organisatioos use the f~AndS in

o cost-efficient manner with minimal waste.

EFFECTIVENESS: Organisatiorts meet their outcomes 0nc1 strate91c object1ves within their budgets 0nc1 timelines. ELIGIBILITY: The organMtions r eceiving funds need to meet the funders eligibilit~ criteria which could range frOf"rr the legal stat~AS of the organisation, its registration with the authorities. the existence of a constitution and administrative and financial

proced~Ares.

EMPOWERMENT The capacit~ of organisations to meet their outcomes and strategic objectives iS developed and enhanced. E~UITY: Organisations receive resources based on need, priorities and programme objectives

PARTICPAllON: AH intemol onct external stakehOlders (~ement, diE!nts, staff, stakeholders. COf"r\mlAnit~) participate in the development and deliver~ of the programme objectives

PAR TNERSHP: OrgMsations partner with ke~ stakehOlders (government, CIVIl societ~ business sector) and benefiCiaries (cOf"rrmunit~) to meet their objectives TRANSPARENCY OrgoosotiOns, flAnders, the corr.t'rMnit~ hove occess to f~And1ng informatiOn, adminiStrative and management procedures.

ARTS FUNDRAISING TOOLKIT -135

Case Study ... Eligibility Criteria for Funding from the National Arts Council of South Africa

The Notional Arts Council in South Afriw support crts projects that: Deal with

uni~ue

artistic wealth of the notion.

Address the uni~ue artiStic wealth of

o particular province and ma!:l propose benefits

outside of its host province. Seek. to G\ddress notional priorities. Seek. to achieve artistic merit and excellence. Assist in the process of fostering South Afriwn identit!:j. Promote the rights of an!::l person to freedom of expression in the proctice of the arts.

The following projects in the various diSciplines are supported: Craft - exhibitions. research and documentation, residencies. r'l'10Kir1g of craft prOducts, e g. ceramics, potter!:!- wOOd carving. embrOider!:j. applique, tapeStr!:j. weaving and text11e design. exchange programmes in South Africa and abrOOd, conferences. workshops. Dance and choreograph!:j - dance perforr'l'10r~CeS, including creation and performance of new choreographic works, touring in South Africa and abrOOd, research and ctocumentat.ielr\ reSidenc!:j progrG1o'IYneS, c~!:l <Mtreoch projects, ex~ progrG1o'IYneS, conferences, workshops which lead to perfOrr'\'\G\nce, festivals w1th the track: record. Literature (creative writing)- creative writing (writing and research grants, including autobiographies, novels. short stories, drama, folklore, and children's literature), literor!:l festivals onct conferences. poetr!:l b!::J established writers, commissioned research, literar!::J magoz.ines. stor!:ltelling, residenc!:l pr ogrammes, workshops, publishing subsidies for publishing houses. publishing courses. Multi-diScipliMr!::J - multidiSciplinor!:l inStallations, multidiSciplinor!:l performances, multidiSciplinC~r!:j festivals, exchange programmes. touring in Africa G\nd abroad, workshops.

Music - performances. music compositions, music tuition. research and documentation of speciGII initieltives, exchange programmes. conferences/ music indobas (to be led b!::J inStitutionS or organsaoons). workshops. t<Mring prOdUctionS, e~rrGlnging on dOCumentation of other persons' work:s, festivals. Theatre and musical theatre - research for script development, scriptwriting. perforr'\'\G\!'\CeS. stor!:jtelling and puppetr!:j. Stor!:jtelling. exchange progrCVM~es. workshops. m~ASical

theatre. drama festivals.

Visual arts - creation of new art work, art teochirlg at communit!::Jievel. exhibitions. visual art catalog~..~es, residenc!:l programmes. workshops. conferences. exchange programmes, exhibition to~Aring in Africa and abroad.

Information from the National Arts Council at www.nac.org.z.o

136 - ARTS FUNDRAISING TOOLKIT

-,---

\--·

1-i

Case Stud~··· Corporate Sponsorship of the Arts in Uganda, By Sarah Nsigaye

Corporote companies support culture for instrumentol purposes (Publicit~) ond these include M TN which sponsors moinly music concerts ond sports. Stonctord Chortered Bonk supports sports particuiCirly the k idS League while Stonbic Bonk supports tennis. Breweries support music concerts. We hove found thot most orgonisotions ond componies like to ottach their brond to culturol octivities eSpeciolly those orgoniSed by the BugCindCI kingdom. RCidio Stations sponsor moinly concerts through odvertisements. Soft drink componies mG~inly sponsor children's shows. A few phiiCinthropic individuCits such CIS Gordon Wovomunno,

SpOnSOrs culturol activities. He prefers to sponsor activities reloted to Bugoncto so notiOrolism oppears to be his key motivotor. There iS no deliberote ottempt to support or finonce orts ond culture for its own soke.

6.4. How do you Ensure that the Beneficiary Gains? This is an e ntirely d ifferent question to what are the funders looking for which is a lso important. So let us start there.

for funds needs to demonstrate such as corporate governa nce, financial systems, staffing and infrastructure and skills. All of these come together in the monitoring and evaluation of funded projects. It is also from this evaluation that you can assess whether the beneficiary gains from the project.

Funders are looking for: • • • • • • •

Good p ractice Good governa nce Accountability Systems of monitoring and reporting Independent evaluation of projects Tra nsparency Professionalism

"Donors do not g ive to instttutions. They invest in ideas and people in whom they believe," G.T. Smith In Section 3 we looked at w hat characteristics the o rganisation applying

Built into a ny fundraising strategy is the monitoring and evaluation of the programmes whic h receive funds. This w ill assist you both in being accountable to your funder but also in e nsuring that the objectives you set for your project in relation to the beneficia ries and target g roup are being met. The purpose of monitoring and evaluation is to assess compliance w ith the contract with the funder as well as the organisation's ability to meet its strategic objectives. A number of factors need to be considered

ARTS FUNDRAISING TOOLKIT - 137

In any evaluation such as financial management responsiveness to beneficiaries, the ability of the organisation to grow and develop as well as the Internal

workings and operation of the organisation. These are reflected In the dlagramme below.

Figure 16: The Internal Workings of the Organisation

• The organisa tion complies with financial practice and reqiurements of the contract and the finances are used according to the the agreed objectives in the contract • Is there value for money? • Does the organisation have a sustainability plan?

• What Is the state of internal organisational processes. core competencies ot staff and ability to meet strategic objec tives • Does the organisation comply with relevant legislation, priorities. norms and standards as well as procedures?

New thinking about evaluation Corporates that sponsor the arts as well as arts organisations are Increasingly recommending self-evaluation. In a new document entitled "The rela tionship between Arts Council England and Its regularly funded organisations", the Arts Council England sets out a new framework "based on partnership, openness and mutual respect, focused on outcomes

138 - ARTS FUNDRAISING TOOLKIT

• Does the provision o f the services meet the needs and expectations of the beneficiaries? From customers to stakeholders to audience • Measuring responsiveness. timeliness, reliability. and organisational performance • Are the beneficiaries, stakeholders and community involved In the design of the programmes?

• Is the organisation constantly learning. e volving its proced ures, products and services. improving the quality of its product or service? • Does the organisation monitor best practice models

rather than processes" . It describes how their funded organisations will be required to conduct self-evaluation and submit the plans that this self-evaluation Informs as well as the outcomes achieved and challenges faced. It emphasises the need to know the objectives of the a rts project for the various parties (arts organisation, funder, arts sponsor) to be able to effectively measure the Impacts and outcomes.

TooL .. Evaluation Plan Template

This evaluation plan template can be used to monitor ~our project activities, demonstrate progress ana prepare reports. t

Project Goat This section presents the general statement about the project which gives direction

--~-,

to ~our project activities. A project can have more thar1 or1e goaL 2 Project Objectives This section lists all the SMART objectives of ~our project. 3. Project Activities This section provides a list of all project activities that were completed. 4. Project StakehOlders This sectiOfllists au the stakehOlders irlvotvecl ir~ thiS project from the aecision-fr)()k.ers to those affected b~ it. The section should Specif~ all the stakeholders invOlved in the evaluation as well as those that should see the results of the evaluattort 5. Project Outputs Mel Outcomes This section should provide a list of outputs (number of performances, number of craf t products) and outcomes (personal CAV1cl orgaV1iSational char~ges that participar1ts ana the cornmur1it~

experienced as a result of their involvement irl !;10ur project) achieved per

each project activit~. You rna~ wish to specif~ these in terms of short term, rneaiurn term and tong term outcomes.

b. Project Map This toot provides the cletaa of each of ~our prOJect objectives, 1ts activities and outputs/ outcomes as well

as the rnethoct of evaluation used to assess each one. This map con be upaatecl continual!~ as the project progresses. Each objective should be completed on its own mop.

ARTS FUNDRAISING TOOLKIT- 139

EVALUATlON PLAN TEMPLATE OBJECTIVE

Per each objective

ACTMT!ES

List all the activities per each objective

OUTCOMES /OUTPUTS List au the <Mtcomes and OIAtpt-\tS per

EV.ALUA11()\J <XUESTIONS

EV.ALUA11()\J TOOLS

SOJ<CES<%

ldentif~ the

Surve~s Interviews Focus group Evaluation form Report Site viSit Activit~ tog

Participants

q~..~estions

evaluation

ec.:~ch octivit~

for

N=Ci<MATJaiJ Commun1t~

Audience ~wtb"'

Media Other records

Observc.:~tion

notes

7. Activit~ trad:.ir\g log Th1S log can be used as an on-gOir\g f'O()nitorir\g tool for ~r project activities. Activity Dote St;o(t End Ploce ParticlpOnts Demogrc.:~phics

Outputs Resources

Staff Time B~Adget

Comments 8. ConclusiOns Th1S sectiOn describes (i) How ~our project objectives wer e met (ii) How the evaluation was completed 9. Recommendations This section outlines (i) How to use the evaluation results

(ii) Whot changes

pu wm make to the project from now on or what char\ges ~ou would

make were ~ou to do it ogain (iii) Suggestions for projects like this one for other orgonisations (iv) Suggestions to the funders in how they monitored the project

140 - ARTS FUNDRAISING TOOLKIT

6.5. How to Respond to the Feedback from the Funder

which needs to be signed by the executive director or chairperson of the board.

Finally,

"Feeling gratitude and not expressing It Is like wrapping a gift and not giving it." Unknown

Your proposal is ready and you have chosen which funder or funders to send It to. Now you wait for their response. But what do you do when the funder says NO and more Importantly, what do you do when the funder says YES! a) What to do when the funder says NO

Getting a refusal letter may be your worst nightmare come true but It also could be an opportunity for you and your organisation to develop a relationship with this particular funder. It would be Important to respond to the letter with a thank you for taking the time to consider your proposal. You could use this Jetter to ask for suggestions on how to strengthen your proposal for the future. Whatever response you receive can be used as a learning opportunity (the proposal was good, funding was already allocated; the budget was unrealistic; your project time frames were unconvincing) to re-look at your proposal and make the necessary adjustments for the next time or the next funder. There are few things as valuable and as Important for success as an objective assessment of your work!

You may also receive the contract which needs to be reviewed and signed as quickly as possible. Once your contract is signed you can celebrate! This Is the beginning of your project and after the celebration the hard work must begin! Please remember that you should not start your project until such time as the contract Is signed, and if possible, your first tranche Is in bank. Make sure that you discuss with the funder how they would li ke to be acknowledged. This could Include the following media: • Newsletter • Annual report • Donor wall in organisation • Donor wall on website • Press release • Encourage corporate funder to publiclse Its donation in Its In-house publication A good place to begin with understanding what the donor expects from you and your organisation is the Donor Bill of Rights (see page 144).

b) What to do when the funder says YES

There is no doubt that after all your hard work receiving the note/ letter/ email to say your proposal is successful is very welcome. The first thing you and your organisation need to do Is to send a thank you letter or call the contact person to give a personal thank you. You can follow that up with a written acknowledgement Jetter

ARTS FUNDRAISING TOOLKIT - 141

Example... Sample Letters from Funder Saying Application Failed from Niger Niame~ on 25th April 2010

:# 095/200'3 NGO based in Niger Action against Obesit~ B.P. 10.032 NIAMEY Republic of Niger Tel. %.'32.'17.30 Mail: ongacob@~ahoo.fr Subject: your request to be supported

our inStitution

Dear President, We acknowledge receipt of ~ letter f r om 23rd March 200'3 1n whtch you were soliciting our inStitutional support regarding your latest activities. Despte the relevance of the project, I am afraid that the offiCe of the Carodiar'l embass~ does not have sufficient funds to support it. We thank ~ou for your interest in the Corodian Cooperat1on. Best regards, Gu~ Villeneuve HeM of Office ond Cooperotion at the Canadian Embass~ Letter :#2 Subject: Result of the call for pr ojects from the Social Fund for Development (SFD) Madam/Sir, I acknowledge receipt of the application for support to the French Embass~ last August and thank ~ou for ~our interest in the first call we hove diStributed in the frame of the Social Fund for DevelOpment (SFD} Your applicatiOn was considered eligible and was therefore careful!~ studied b~ the coovniSSion that deals with evaluation the applicatiOns. Unfortunatel!:j. your project did not get a high enough mark to be one of the t3 app!icat1ons selected to access to an SFD funding. The Service of CoeperatiOn and Cultural Action of the French Embass~ sta~ ot your disposal should you need additional information regording the outcome of the selection for th1S project. Best regards, Patrice Lero~ Cooperation and Cultural Action AdviSer Thonks to (Niger Bo1..1kar~ kader) for providing lAS With this letter

142 - ARTS FUNDRAISING TOOLKIT

Example... Sample of LeHer about a Successful Application from Benin CotOV'IOU, 2'i AL.Igust 2008 To Jeunesse Perspectives 6roupement Mrs Nell~ S.DENAKPO 02BP442 Z..e1kpo BOHICON N/Ref.:1154/PSCID-B/BN/ED/08 Ce1U for proposots: PSICD-BEN1N/2008/MP2/6L.Iichet 1 to 03 April 2008 Colt for proposot :#2 from PSICD Request ref.: AAP2/6V27 Amoz.Ot"'e 2008 Subject: Outcomes of the Storting workshop for funded projects.

Once we hove Signed the fL-~nding cOt"'trocts between PSCID ond the org0n1sotions with which projects hove been agreed UpOt"', the progrom iS orgoniSil'\g o two-do~ storting workshop in Abome~. Ot"' 12th ond 13th September 2008, from 'i om, ot MOt"'ique's. Technical ond f inonciOI monogers from the selected orgonisotions wilt meet during this workshop ond exploin to us their rL-~tes il"' terms of projects-reloted monoging techniqL-~es. accounting onc1 financing. This wilt otso be o goOd opportunit~ for the operators to s~nerg;se their octions. In this copocit~, I om delighted to invite ~ou ond ~ol..lr finonciol rnonoger to ottend this workshop. The following SL.Ibjects will be tockted: Funding contre1cts onol~sis EDF monoging procedures for fL-~ncting I bl..l~ing procedL-~res. eligible expense, proofs of po~ent, etc. Technical follow-L-Ip ond occompon~ing projects Spending moctolities Norrot1ve ond f1nanciol reports EU-Benlf) cooperation ond PSICD communicotiOt"' One! viSibtlit~ rL-~Ies We wat cover ~r expense linked to ~our porticipotian (coter ing One! accommoctotiOt"') ond ~ transport w~l be reimbursed upon orrivot For ony oddit:i<Jv1cAIII"'formotiOrl, ~ con Olreoct~ coli the Operotionol Structure Ot"' 21303802 or Ot"' 't72'i7070. Looking forword to seeing ~ou there. Best regords. Bobocor NDlAYE Coordinator ThCll'\kS to Nell~ Denokpo (Benin) for providing this tetter.

ARTS FUNDRAISING TOOLKIT- 143

TooL.. A Donor Bill of Rights PHILANTHROPY is based on voluntary action for the common good. it is a tradition of giving and sharing that is primary to the quality of life. To ensure that philanthr opy merits the respect and trust of the general public, and that donors and prospective donors can have full confidence in the not-for-profit organizations and causes they are asked to support, we declar e that all donors have these rights:

VI.

To be informed of the organization's mission, ofthe way the organization intends to use donated resources, and ofits capacity to use donations effectively for their intended purposes.

To be assured that information about their donations Is handled with respect and with confidentiality to the extent provided by law.

II.

VII.

To be informed of the identity of those serving on the organization's governing board, and to expect the board ta exercise prudent judgement in its stewardship responsibilities.

To expect that all relationships with individuals representing organizations ofinterest to the donor will be professional in nature.

III.

VIII.

To have access to the organization 's most recent financial statements.

To be Informed whether those seeking donations are volunteers, employees of the organization or hired solicitors.

IV.

IX.

To be assured their gifts will be used for the purposes for which they were g iven.

To have the opportunity for their names to be deleted from mailing lists that an organization m ay intend to share.

To receive appropriate acknowledgement and recognition,

To feel free ta ask questions when making a donation and to receive prompt, truthful and forthright answers.

DEVELOPE D BY

ENDORSED BY

Association of Fundralsing Professionals (AF'l') Association for Healthcare Philanthropy (AHP) Council for Advancement and Support of Education (CASE) Giving Institute: Leading Consultants to Non- Profits

(In formation) Independent Sector National Catholic Development Conference (NCDC) National Committee on Planned Giving (NCPG) Council for Resource Development (CRO) United Way of America

First developed b!::j philanthrOp!::j professionals in the Unrted States, see http:/ /www.atpnet.org/files/ContentDocuments/Donor _Bill_of _ Rrghts.pdf

144 â&#x20AC;˘ ARTS FUNDRAISING TOOLKIT

Case Stud~路路路 Beneficiary gains through corporate arts sponsorship and innovative funding:The South African Ballet Theatre: A case for sustainability Written by Diane Coetzer, copyright of Business and Arts South Africa , www.basa.co.za

It's 1'\0 secret that f~AY\dil"'g of the arts, is IAY\der eY\ormOIAS straiY\.

JtASt recer1tl~ refiOWfled UK theatre director, Sir Peter Hall told the UK 6tAardial"' 1'\ewSpaper that his greatest regret "is that we seem to be fightiflg the SIAbSid~ battle all over agail"'". The 80-~ear-old lamel"'ted that politiciai"'S "do fiDt seem to grasp the spiriwal, social al'\d ecOfiOmic wse for the arts".

So how do arts projects ai'\CI cornpa.l"'ies il"' Sooth Africa- where the CC>fopetitiOI'\ for resO\Arces is evel'\ tC~Agher - sta~ afloot? AI'\CI, more thM that move to a SIASWil"'ab!e model that lAShers them safe!~ il"'to the f~Atwe?

This was the challel"'ge facil"'g The SC~Ath AfricaY\ Ballet Theatre (SAB T) over the past few ~ears - al'\d 01'\e that was evel"' tC~Agher for the Broomfooteil"'-head~~Aartered compar1~ giver\ that ballet ss Ol'\e of the most ex.peY\Sive art forms to mOIAY\t. fiOI'\a B~Add (Mal'\agil"'g Director: SABT) al'\d James Campbell (ChairftlaY\' SABT Tr~ASt; Vice-ChairmaY\= SABT Board) spake to B~ASiY\eSs ai'\CI Arts So~Ath Africa abo~At what k.e~ initiatives, chal'\ges afld assistal"'ce the~ SO~Aght to take this reY\OWI'\ed ballet compaY\~ iY\tO a level of SIAStaiMbilit!:j that iS

eY\abliflg the SAB T to thrive, close to a decade after it wo.s fOIAY\ded.

For B!Add O.fld Co.mpbell, the cho.l!el"'ges idel"'tified b!:J the SAB T were mal'\~ - 1'\0t leo.st of which is the worldwide trel"'d tho.t sees ticket sales for bo.llet bril"'g iY\ jtASt o. third of the inCome 1'\ecessar!:l to rut'\

a company.

This means the SABT has to SOtArce two-thirdS of

its b~Adget thrOIAgh other means, ii'\CIIAdil"'g ex.temo.l f~AI'\Ciers ai'\CI f~AI'\CiraiSil"'g il"'it iatives. In o.dditiOI'\, ~AI"'Iik.e the ballet cornpa.l"'ies of old (like PACT Ballet). SABT co.nfiOt rel~ 01'\ CAY\ admin il"'fro.strtActiAre (~. pa!foiL marketil"'9. wo.rdrobe, IT, archives) to bo.ck it

\..If' o.nct ho.s to handle

all these aSpects itself - aloogside mrunting prOd~ActiOns.

ARTS FUNDRAISING TOOLKIT- 145

Ke!;1 to moving SABT to sustaiY\Gibi1it!;1 were two review processes it hos undergooe Sir'lCe 2007- both looking ot 'where' SABT wos in its growth, what wos working 0nc1 what wos not, also what wos profitable and what wos not. These ore not eos!:1 to undertake but both Budd and Campbell stress how vital the!;1 hove been for SABT .

The first review sow SABT cut bock on projects that were not vital to its core functioo, whilst not bringing in sufficient income. So the two SABT Schools were privotiz.ed (but allowed to retain on importcmt association with SABT). The second review proved o little more challenging. Although the SABT hos never been in debt, in 2009

o look ot projected

cosh flows for G.4 2009 and for 2010. alongside an assessment of the impact of the ecooomic recession OM the natural cooclusion of certain SpOnsorship agreements, it was clear that the SABT's cosh flow would be C!dversel!;1 impacted. In short, it was assessed that Rb million needed to be raised - and fast!

In tandem with thiS, all SABT activities were ogoin re-assessed to see if the!;1 remained in line with its core acbvity. The outcome of this wos the retrenchmeflt of 10 staff members os well os the further privOtiSing of two outreach programmes in Pretoria (the company hOd five in total) through o process of

o Six-month funding buffer whnst the ballet teacher

tn charge sought independent funding.

SABT also looked at performing f ewer seasons each !:1ear but with more performances in each season. "A season iS very expensive to put on Ofld, if it is not o sponsored season, con easil!;1 ruf\ at a Rb00-R800k loss just because productiOfl costs are so high," report Budd OM Campbell. A key companent of SABT's approach was the ifltense OM challenging scrutin!;1 of its Boord. "We relooked ot the composition and structure of our Boord so

to ensure that that oil pOrtfolios were covered and we brought 01'1 new members who bring enthusiasm, connectioos. commitment and expertise." report Budd ond Campbell.

146 â&#x20AC;˘ ARTS FUNDRAISING TOOLKIT

SABT otso mode their ft..tndit'\g plight public and, in additioo to iSSU1ng o press releose through the formol medio chMnels, otso sought creotive wo~s to htghlight their Situotioo. One of these wos

o bollooo releose' which sow SABT doncers, 1n costume, releose bG\IIoons with

oppeol messoges from the roof of the Joburg Theotre, which otso eorned it mecfiGI ottenti<Jrl For &.dd ond Compbell. o few k.e~ oreos stoOd out in repositioning SABT. Constont ossessment ond recognition of the 'signs of the times' ond 'wtting one's coot GICCOrdingl~'·

A mind shift thot involved presenting support of SABT not os charit~ but as alignment with o prestigious arts compan~ whose imoge would OOI!:J enhance the image of associated sponsors. Reoll~ thinking through sponsors - whether

a major sponsor (substantial sum but more

nsk. if the~ pull out) or several smaller sponsors would be

a better fit.

Sustainabilit!:j through initiatives like the Hall of 1000 Stars progromme (which wal patentiall~ brit'\g in R2 million a ~ear once SABT hos reached1000 stars - •t currefltt~

has 215 stars). Onl~ accepting projects/corparotes thot hove a high financial or publicit~ returns for

low/medMm effort so that SABTis not coostantl~ drGiining its alread~ stretched human resource. In addition SABTs move to sustainabilit~ inCluded: Going bock. to basics and back. to its core function and raison d'etre and formuloting a sustainabilit~ model that is not so heavil~ reliont on external funders.

Formulating a profitabilit~ model to assess

a workable ratio of moximum return Glfld low

to medium input when considering projects.

For Budd the support of individuals and mentors wos also k.e~. In particular: Bernard Ja~ - CEO: Joburg Theatre James Campbell- MD: African Diamonds, SABT Trust Chairman and SABT Boord Vice- Chairman FroflcOis WitbOOi - COO: Tshik.ululu Social Investments Sik.k.ie l<.aJee- SABT Board Member and Finonce Committee Choirman Mortin l<.tllen - SABTs Accountant: outside cootroctor.

So~ Budd, "Programmes such as the BlJSII-..ESS AND AATS SOJTH AFRICA Mentorship

programme and the t:.me we spent with Ca-d~ Woterhouse of RMB were aso ver~ h~ft.4:

ARTS FUNDRAISING TOOLKIT -147

Budd recommeoos MiChael kaiser's book 'The Art of the T urroroul'\d' Md Jim COllinS '6ood to 6reot irl the Social Sector' (the Iotter of whiCh wos recommel'\ded to herb~ Dr FrancOis von den Berg, CEO of the NotiOI"''IO EisteddfOd, OS h(:1Vil"''g been the book that inSpired their turroroul'\d). For Budd and Campbell, there are several ke~ pieces of advice the~ would give to arts organisations in First!~

a Similar situation.

- do not ponicl One needs to sit colml~ and rational!~ ol'\d look ot all the facts and

figures and

come up with several possible plans os to how to tum the Situation around,

including short term ond long-terms solutions. Have a plan A, B, C and D (we had up to plan F!). "Second!~ - honest~ iS the best polic~ and communication ver~ important - keep ~our

staff and current funders and stakeholders informed. Obvious!~ ~au cannot make all irlformotiOt"' publiC but do tetl what !jOU can al'\d in as colm Md simple a momer as possible and give regular updates. "Third!~ - think out of the box and also draw 01"\ the fnends ond cOI"\tocts that ~au

hove who con asSist irl their areas - our bGIIIOOt"' release brought us in a mojor sponsor Md our appearance 01"\ Carte Blanche il"''directl~ helped to release ful'\dirlg from G\I"\\ther organisation that had been pending approvaL "Fourth!~ - do not bad-mouth Gll"''pne or 'bclsh' G\1"'1~ sponsors thot mo~ have discontinUed

their funding "Fifth - moke use of honest 'sounding boords' whose wiSdom. experience and knowledge ~ou

trust. Do not work on prOductions and projects without having all the necessar~

logistics, funding and planning set in place- 01"\e CG\1"\not work 01"\ 'pie-in-the-sk~' funding promises- the

mane~

needs to be in the bank first and if it is not the project needs

to be put on ice until it iS there. SABT has also never taken out loans - if the mane~ iS not there one shouldn't do the project."

Firoll~ "Research and look for like-minded business organisations that share the possiOt"' ~ have for ~ art-form. One CG\1"'1 buid up some wOI'\derful s~g!eS with such COOlp0¥1ieS

ond it is o 'win- wirl' Situation for both companies and this mokes working together such a pleasure and so eas~·

(Thanks to BUSINESS AND ARTS SOUTH AFRICA for perm•SSiOI"'' to use th1S case stud~ b~ DiG\1"'11"\e Coetz.er).

148 ·ARTS FUNDRAISING TOOLKIT

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Websites

Art Times- www.Arttimes.co.za Arts Council UK- www.Artscouncil.org.uk Association of Small Foundations http:/ /www.smallfoundations.org Biz Community South Africa www.Bizcommunlty.com Business and Arts South Africa www.Business and Arts South Africa .co.za Chronicle of Philanthropy http:/ /phllanthropy.com Council on Foundationshttp:/ /www.cof.org East African Based UK NGO www.allavida.org: East African based UK NGO which promotes philanthropy. It Is linked to the East Africa Grantmakers Association. European Agencies - www.euforic.org : Membership organisation of European agencies which work Internationally. European Foundation Centre http:/ /www.efc.be European Funding Guide - www.ecas.org: A guide to European funding both within Europe and Internationally. Funders Online - www.fundersonllne.org: The European Foundations Centre runs this. It includes guidance on grant seeking FundsNet Services www.fundsnetservlces.com Global Giving- www.globalgivlng.com : Southern hemisphere NGOs can register their projects on this US hosted website to

150 - ARTS FUNDRAISING TOOLKIT

attract potential funders. GlobaiGivlng http:/ /www.globalgiving.com Grantmakers for Effective Organisations http:/ /www.geofunders.org Grantmakers in Film and Electronic Media - http://www.gfem.org Grantmakers in the Arts http:/ /www.glarts.org Kiva- http:/ /www.kiva.org MTN- www.Mtn.co.za National Center for Family Philanthropy http:/ /www.ncfp.org National Committee for Responsive Philanthropy - http:/ /www.ncrp.org Network for Good Learning Center http:/ /www.fundraislng 123.org Non Proflt Expert www.nonprofitexpert.com/international.htm Seedco - http://www.seedco.org The European Foundation Centre www.efc.be: The European Foundation Centre. It includes European funders' trends. The Foundation Centre www.fdncentre.org: The Foundation Centre. It includes guidance on grant seeking. Subscription fee Is needed for the more advanced search tools. http:/ / foundatloncenter.org/getstarted /t opical/ internatlonal.html: Foundation Center's links to International directories of funders U.K. Directory of Social Change http:/ /www.dsc.org.uk

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Any indMdual who works without compensation or remuneration on behalf of a non-profit organisation. Volunteers are sometimes reimbursed for travel and refreshment costs or are offered an honorarium by the organisation.

Vision statement

A document laying out what an o rganisation or company envisages becoming in the future.

Work plan

A document, typically internal to a project. setting out responsibilities, time frames and courses of action on how to go about achieving project results and objectives.

Welfare organisation

Welfare organisations have a focus of attention on well-being of people. In the mind of the donor public 路welfare Organisations- and -charity 路 are often seen as synonymous

ARTS FUNDRAISING TOOLKIT- 173

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UNDP http://www.undp.org.zw

AMA Khadija El Bennaoui, Coordinator Tele.: +32476676149 Fax: +32 251 15 202 Website: www.artmovesafrica.org Email: lnfo@artmovesafrlca.org

Government of Zimbabwe http://www.gta.gov.zw

202 - ARTS FUNDRAISING TOOLKIT

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