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The festivity of opera in Europe

Ode to Joy

The all singing, all dancing abc of showbiz

Doh-Ray-Moi: singing in another language

A polyglot at prayer

Fundraising for the arts

by Andrew Hammond

As this article is primarily for a UK readership, it will focus on the situation for arts fundraising in this country, but with reference to the European context. Much of the general advice applies both nationally and internationally, of course.

General advice

Most arts activity cannot rely on the income it generates from those who form its audiences. This is simply the case, whatever some might argue about the philosophy involved, and so fundraising is required. This is true at every level. The UK has a particularly developed and fruitful funding economy, and the fundraiser has to rise to the challenge that this poses. There is public funding, at local, national and international level; there is corporate sponsorship (money from companies); grants from charitable trusts and foundations; and private donations (money from individuals).

The UK's arts sector also has a longer history of raising funds than in most other European countries, so there is a great deal of expertise on which to draw. The websites and publications mentioned below arise from this well-established culture.

Much of the fundraiser's work has to be done before any approach at all is made to any potential source of income. You must have a clear picture of what it is that needs money (or, indeed, other forms of non-financial support, 'in-kind' things such as editorial media coverage or free advertising or other free goods and services). What type of appeal is needed?

Capital: e.g. a new building, or renovation of an old building, or new equipment;
project: an activity or collection of activities which have a fixed time-span and (usually) a defined theme;
revenue: the ongoing costs of running the organisation or activity.

Knowing what type of appeal you are putting together is relatively easy, and it means that as you research you have some filters to apply immediately. Many bodies which give money (public or charitable) make very clear what they will and will not support.

It is also vital, if at all possible, to have the content of the project or activity worked out in as much detail as possible: this includes a realistic project management plan. It is remarkable how many fundraisers are sent off to do their work with only a sketchy idea of what they are raising funds for. Funders have a keen nose for such woolliness. Public funders and some of the bigger trusts have such strict criteria that you fall at the first fence unless the detail is in place. Part of knowing the content is having a clear statement of your overall vision too: your project will not only look, it will also be, more likely to win support if it coheres well with that vision.

You should also make sure you are well-embedded in the structure of planning, and that everyone else knows you cannot operate at your best as a kind of lone ranger. The rest of the management team (and especially the artistic leaders) need to know how they can be involved: eg making contacts (especially to potential private donors), or being available for special events (for cultivating potential donors, who will be more impressed by private encounters with artists) for instance.

Then there is research. You only have so much time, and you want your appeal to be efficient. The planning should therefore allow you time to do the research, as well as pursue the campaign you plan based on that research. Discovering the various timing issues is key: what are the funders' timescales? What is your timescale? How does the cashflow work, especially for big projects? Some funders pay in arrears (especially at EU level, it should be noted), since they need to see evidence of expenditure before 'reimbursing' it. This can make or break a whole project. Your colleagues need to appreciate all these issues too.

Now for some specific points:

Charitable trusts and foundations

1. Research

There are many guides to the world of trusts in the UK: a good source is the Directory for Social Change: http://www.dsc.org.uk/;
at a European level, the expensive (try your local reference library) but comprehensive 'Europa International Foundation Directory 2006' is recommended;
talk to them? - the bigger trusts have staff who will often be happy to give guidance. In some cases a meeting is possible. Most trusts would like to look at appropriately framed applications, and
the majority of charitable trusts in Europe which respond to unsolicited applications are in the UK. Many of the continental European trusts originate their own programmes.

2. Apply appropriately:

follow any guidelines or even hints in the directories, and
attach a cover letter: never more than one page, and
get the accompanying documents right: clarity, passion (but not prolixity) and the boring necessities (e.g. copy of your charitable deed or your last audited accounts).

3. Follow-up

Send a thank you letter: you'd be amazed how many organisations don't;
acknowledgement (in your publications, on your website etc): check what each trust would like - some specify a form of words, others demand anonymity, and
report: let a trust know, in brief, how it went. With bigger trusts, this helps establish a relationship - and trusts do often give grants to organisations more than once, they get to like you.

Public funds - local and national

http://www.governmentfunding.org.uk/Default.aspx

http://www.lotteryfunding.org.uk/

Networks

make friends with local agencies in your area;
share information: this always yields better fruit than hiding in a hole;
you may find avenues of funding you didn't expect, such as regeneration budgets.

Talk to people

those who work for public funders usually see their role as targeting funding well, so will often welcome they chance to advise;
they like be involved: if they can be engaged by your project, they will be particularly constructive.

Learn the lingo

objectives, targets, outputs, measurability, legacy etc
you will often have to complete huge application document, and knowing what these terms involve will help. Again, you can talk to people who know, those who work for the funding bodies

General criteria will apply

you will have to take into account requirements regarding disability, equal opportunities, risk assessment, procurement, appropriateness of costs, accounting procedures etc..

European Union

http://www.welcomeurope.com/

This is complicated but, if your organisation or project has a genuine European dimension it could be a very fruitful source of funds. The portal above will lead you into a very complex sequence of funding possibilities, but it really repays time-consuming study. The key thing is, though - it must be seriously European. Anything which requires you to do some creative description of your project to fit this criterion is almost bound to be sniffed out.

Each programme has its detailed criteria and objectives, as well as specific limitations; there are also more general rules about how to submit applications - so, for example, it is good to know that a form has to be filled in with 100% accuracy. If a detail is wrong or missing, the first-stage checkers are empowered to discard it. There will also be strict rules about the requisite number of (European) partners for an application.

Much of the advice about national public funding also applies here: there are usually people you can go and talk to, either in Brussels or, often, in London-based agencies which are financed by Brussels to mediate funding programmes. The key British contact is Euclid, as at:

http://www.euclid.info

The cashflow and lead-time issues are also especially crucial here. Many will advise you to apply for a project which falls towards the end of the time-frame of the relevant funding programme, to allow the maximum time for the decision process to follow its course. EU funds are also very often released retrospectively.

Corporate sponsors

Companies above a certain size will usually have a sponsorship department or officer, but you will often have to delve quite deeply to find it (and often encounter resistance to being asked for the information). Sometimes a company's website will advertise its sponsorships, but not always, and then not necessarily with any clear information as to how to make an approach.

It is vital to remember that for most companies the rationale is usually commercial: what benefits can accrue from their putting money into your project or appeal? You need to be wise to this, and have the benefits worked out - such as free tickets, mention in printed material, private events for the company's guests, customised recordings of the activity sponsored, as well as more imaginative possibilities (such as bringing educational projects into the company itself).

A professional approach is important, but with a passion for the worth of what you are raising money for: the combination of the two will be the most effective. Almost always if you're being taken seriously you will be invited to a meeting, so the right personal manner is extremely important.

Private donors

This can be a fruitful source of income, especially as your enthusiasm for a project can be expressed without having to satisfy funding criteria or corporate strategies. Having said that, it is wise to know what tax advantages and other benefits their donation will yield.

Personal contacts are always the best way to start, which is where activating the networks among your colleagues will be a great help. Cold-call approaches to potential donors rarely work: those with sufficient resources to help will be well-known from their existing donor activity, and will therefore be in constant receipt of requests. An introduction, especially if you know you are playing to a particular artistic enthusiasm, makes a crucial difference.

You also have to be aware of the downsides. Private patrons can expect to exert artistic influence. And there is always the risk that they change their minds. It is very hard to hold a private donor to a pledge which is later withdrawn. On the other hand, a good relationship with a private donor can last for some time; and if you are attentively nurturing of them and they are not inappropriately assertive, this can be enjoyable and uplifting for both parties.