Strategies for

Fundraising.

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Strategies for Fundraising
Dr Rohini Dandavate
April 2008

In the current rapidly changing times, attracting sponsors and drawing

audiences to arts events is becoming very challenging due to growing
competition from increasing numbers of arts organizations, diverse
arts events and other options of entertainment. In addition, a change
in the economic, political, and demographic situation in a country has
its share of effects on the funding decisions of individuals,
government and non-government organizations. For example, a
country in war tends to divert funds to war expenses resulting in cuts
in funding to the arts sector. When a nationʼs economy is in a
recession both corporate and individual giving decreases.
Demographic shifts lead to lesser arts attendance either due to lack
of disposable income and leisure time or due to language barriers
and unfamiliarity to the art form. In order to face these changes and
challenges in acquiring consistent long term funding artists and arts
organizations are required to think of new ways and new sources. In
order to maximize the possibilities of receiving consistent funding
support, artists and arts organizations have to employ methods of
data gathering on the giving patterns of funding agencies, understand
audience demographics and preferences, and use management
systems to budget, plan, and strategize. This paper aims to suggest
ways that can enhance opportunities in raising funds for sustaining
the arts.

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A fundraising campaign is not a single event. In fact, “a successful
fund-raising campaign never ends”(1999,Byrnes, W.) requiring
ongoing information dissemination and constant networking. It
involves engaging prospective donors in the process of planning and
execution of programs. Drawing from literature in the area of
fundraising and marketing I have compiled strategies that can be
employed by artists and arts organizations in planning and
strategizing for fundraising campaigns. This list of strategies is not
exhaustive but is an effort towards suggesting ways that can help in
making the process of fundraising effective. The proposed strategies
are as follows:

- Define the goal of the organization, describe the

direction/activities that would be employed to achieve the goal
and the target amount of money required
- Identify the sources (government, foundation, corporate, and
individual) and the goals of their giving
- Recognize the needs of the community.
- Plan activities/projects that match the goals of the funding
agency and address the needs of the community.
- Expand your reach through collaborations, and partnerships.
- Define a marketing strategy and target prospects.

Goal Setting
Outlining organizational goals and drawing a budget is fundamental in
the process of planning a fundraising campaign. The mission

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statement of an organization is like a road map, which illustrates the
destination, the path and a timeline. Defining what the organization
plans to do, how, why and the target amount required to reach the
goals is the first step in planning a fund raising campaign.

Until recently arts organizations strived to preserve, promote and

propagate the arts. Patrons provided support to this mission and also
to encourage arts organizations in producing quality art and artists. In
the present times, artists and arts organizations have an added
obligation of creating public value. To ensure funding, artists are
required to design creative activities that enhance educational,
economic and social value for people in the community. Artistic
endeavors, besides providing an aesthetic experience, should aim to
inform, educate and aid in developing human capabilities. Therefore,
to be successful in attracting sponsors, artists and arts organizations
need to integrate this provision into their mission.

Sources of Funding
Individuals, corporations, government agencies and foundations, are
essentially the funding agencies for the arts. Individual philanthropists
donate money to causes they care about and also to benefit from the
tax advantages. Corporations use philanthropic giving as a way to
gain social benefit along with other business benefits. They take into
consideration the social and political trends and the needs of the
community while designing the focus of their corporate philanthropy
programs in order to bring their brand name to the forefront. For

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example, the Asian Festival organized by the Asian communities in
Columbus, Ohio during the Memorial Day weekend is supported by a
variety of corporations including banks, restaurants, grocery chains
and media groups. This event has received funding consistently over
the years because the festival contributes to building cultural
awareness among people. The festival inspires, mobilizes, and
connects the participating minority groups, besides improving
community capacity and infrastructure in the area of health. Since its
inception in the year 1994, the festival has contributed to an
increased awareness of Asian art and culture. This is visible in the:

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

years
– introduction of Asian food aisles in national grocery
chains.
– presentation of Asian cultural immersion programs in
schools
– opening of Henna parlors
– proliferation of yoga schools and alternative medicine
clinics
– growing interest in Asian music and dance forums
– developing awareness of Asian textiles and fashion
trends

These effects of the Asian festival clearly demonstrate how art is

effective in building cultural awareness and understanding among

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people in multicultural communities. Keeping in view the current need
for maintaining cohesion and peace among diverse people in
multicultural communities, corporations continue to provide financial
support to the festival.

Foundations are the other source of funding besides corporations.

They are non-governmental, nonprofit organizations that award
grants to other nonprofit organizations, which focus upon issues of
education, religion, social services and environment. In order to
increase their eligibility for financial support sometimes individuals
choose to partner with a nonprofit organization or appoint a non-profit
organization as the fiscal sponsor who receives and administers their
grant funds. Governmentʼs allocated funds also demand data that
indicate the social and economic impact. It becomes clear that in
order to make a case for long-term support and instill a sense of trust
and confidence in the minds of the donors, artistic endeavors should
keep in view both the trends and patterns of giving of the funding
agencies and the needs of the community while designing programs
and activities.

Needs of the community and audience aspirations

The other way of collecting funds is by generating revenue through
ticket sales. To design a presentation, which would draw greater
appeal, artists and arts organization have to recognize the kind of
experience the audience is seeking. Gilmore and Pine, Consultants
and authors of the book, ʻAuthenticity and The Experience Economyʼ

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write, “what (consumers) buy must reflect who they are and who they
aspire to be in relation to how they perceive the world”. These
scholars profess that consumers buy an experience or a product that
echoes their feelings, values or beliefs. Similarly, audiences will
choose an arts event over the other options when the experience
offered is something they can relate to and find meaning in. Being
responsive is the key to attracting both the audience and the sponsor.
It requires researching the demographic composition of the
community, understanding peoples shared values and beliefs and
producing work that can be meaningful to them.

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

Broadway production, The Lion King. This show weaves together art
forms from Africa, America, Indonesia and India, to name a few, in
the most innovative format of presentation. It creates an experience
to which people with different cultural backgrounds can relate. In the
background of increasing numbers of multicultural communities, the
costumes, masks, music, the different elements of shadow puppetry,
movement and body language, the vibrant colors, come together to
help audiences understand, appreciate and enjoy a variety of artistic
expressions from different cultural traditions of the world. The use of
diverse art forms brings a novel experience, which brings to the
forefront various cultural representations and instills a sense of pride
in the minds of people representing cultures from which these art
forms are borrowed. Inferring from the success of the production, The

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Lion King it can be said that being sensitive to the needs of the
people boosts audience turnout resulting in enhanced ticket sales.

Innovative Approaches
The production, The Lion King is also a good example of product
development. Julie Taymorʼs knowledge of Asian art expressions and
her usage of those art forms add an innovative dimension to the
performance. Additionally, the inclusion of a multicultural cast
enhanced performance support. Taymorʼs sensitive perception in
feeling, movement and interpretation presented through the skilled
performances of the dancers, the sets, costumes and masks is
innovation at its best. Another example of success through innovation
is Peter Brookʼs rendition of Mahabharata, the famous Indian epic.
The production was originally staged in an abandoned quarry outside
of Avignon, with a cast that included actors from 18 different
countries. This production awed audiences worldwide. Although
Brooksʼ use of global cast received criticism in India it makes an
appropriate example to demonstrate experimentation and innovation.
The unconventional setting (the quarry) of the play, the multinational
characters, unconventional costumes and the use of English make
the presentation unique. Speaking about his multinational cast Brooks
explains, “ the many nationalities are trying to bring something of
their own. In this way, we are trying to celebrate but which carries
echoes for all mankind". Peter Brooks, in his production on
Mahabharata set a precedent for other theatre groups to present this
Indian Epic in many other languages.

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In both the productions, “The Lion King” and “The Mahabharata”, the
directors innovate by infusing new elements in presentation. Using
diverse cultural expressions, dancers, and actors made the
productions meaningful universally. In the words of the African
American writer, William Plomer, “ creativity is the power to connect
the seemingly unconnected”. Both Taymor and Brooks, the creative
masterminds behind the productions, directed, designed and skillfully
“connected the seemingly unconnected”, making the productions box
office hits.

Collaborations and Partnerships

The other emerging trend for ensuring success in fundraising is
through collaborations and partnerships. Learning from models of
collaboration in businesses, it is observed that combined efforts add
expertise, experience, insights and a sense of co-ownership, which
can lead to increasing revenue. For example when Macyʼs, the
departmental store or Barnes and Noble, the bookstore chain
partnered with Starbucks, both companies benefited in their sales.
While easy access to coffee during shopping becomes an incentive
for consumers to continue to shop for longer time, people visiting the
bookstore enjoy the experience of glancing through books with a cup
of coffee. Similarly, partnering in the arts can enhance infrastructural,
artistic and monetary resources. The success of the Asian Festival in
receiving long term funding support can be attributed to the
collaborative efforts of the various Asian community groups. The

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success in the Box Office collection for the productions The Lion King
and Mahabharata is due to cross-cultural collaboration.

Another similar success story in organizational collaborations is the

Barbican Center in London. Over the 25 years of its existence, the
Barbican Centre has developed relationships with diverse and
prestigious range of partners and associates, namely, The London
Symphony Orchestra (LSO) the resident orchestra, the BBC
Symphony Orchestra (BBC SO), Serious, one of Britainʼs leading
producers of live jazz, world, and roots music, Michael Clark
Company and Cheek by Jowl and Beast Dance Theatre. Partnerships
opened new opportunities for these individual companies to create
innovative body of works, advance programming abilities, draw large
audiences and above all continue to be supported by the City of
London Corporation as part of its contribution to the cultural life of
London and the nation. Alliances and cooperation is their key to
success.

Creating a Marketing strategy

Finally, the other most important facet of fundraising is developing a
marketing plan, which defines the strategies for pricing, promotions,
advertisements and sales. It is imperative for artists and arts
organizations to maintain visibility in the community through a multi-
channel communication and information system which includes: Face
to face meetings, advertisements, attention grabbing flyers and
brochures, personal web mail, website information, newsletters,

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special fundraiser shows, distribution of press kits, letters and
telephone solicitations. Also developing contacts with officials of
funding agencies and networking with people from different media
contributes in creating a presence. These methods of advertisement
help in projecting organizational growth and stability.

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

quote the example of Mr Babulal Doshi, the founder of Kala Vikash
Kendra, the College of Indian Dance and Music in Orissa, India. As a
young student of dance in the institution I remember observing Mr.
Babulal Doshiʼs fund raising strategies. He made regular visits to
potential individual donors, invited people from the media and press
for every event, maintained relations with officials of government
bodies; and organized fundraiser presentations for corporations in
different cities in India. His fund raising campaign started in 1952,
when KalaVikash Kendra was first established and continued until his
death in 1986. His efforts in fundraising truly proved that “a
successful fundraising campaign never ends”.

This example demonstrates the extent to which officials in arts

organizations and artists need to work to be able to receive long term
funding for the arts. As Prof G.T. Smith writes “Donors donʼt give to
institutions. They invest in ideas and people in whom they believe”.
People donated money for Kala Vikash Kendra because Mr. Doshi
had the capacity to build public relations, maintain consistent visibility
and gain their trust and confidence. His dedication and passion to

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promote the arts of Orissa reflected in his efforts. Fundraising is
arduous and time consuming but employing these strategies can
facilitate fund seekers in creating a tangible, transparent, concise and
compelling fund raising appeal.

References:

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

Press.

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

Arts Management, Amherst, MA. Arts Extension Service

Reiss Alvin, (1995). Donʼt Applaud: Send Money. New York. Theatre
Communications Group, Inc.

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

Oryx Press.

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

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

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