Report on qualifications of fundraisers for cultural events and best practices in the context of fundraising for cultural events.

The report consists of the following parts: 1. Introduction 2. The scope of duties of culture fundraisers 3. Education (preferred majors) and preferred hard skills (e.g. languages, computer skills, fund market knowledge) and soft skills (personal attributes) necessary for this job 4. Training needs 5. Best practices – on the example of the National Museum in Krakow

1. Introduction

Nowadays the work of a cultural events manager starts long before the planned event actually takes place, and one of the elements of preparatory work is the analysis of the financing method of the planned event (a number of options), the preparation of financial engineering (a number of options) and raising funds for the planned cultural event.

Thus a culture manager equally frequently acts as a fundraiser, or performs such a function.

At the same time organizing an event from external funds requires from a culture manager knowledge in the scope of various possibilities of financing cultural events both from public and private sources, as well as the ability to manage the project in accordance with the application or feasibility study, to carry out projects in compliance not only with legal requirements and regulations applicable in a given country or regulations of institutions the manager works in, but also the requirements of the grant provider co‐financing the event. It is also necessary to account for the event in accordance with the imposed rules, which entails the collection of documents according to specific guidelines, their adequate description and expenditure of funds within required deadlines, subject to loss of their eligibility.

Moreover, in a situation where a lot of funds from European programmes are credited to the account of the institution organizing the cultural event in the form of reimbursement, a culture manager is also obliged to ensure adequate financial flows in the project, including entering into

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obligations (e.g. in contracts with contractors or artists) in a manner allowing for planned fulfilment of financial obligations.

Thus there are new challenges for a culture manager / fundraiser, whose scope of duties (the given example applies only to work connected with fundraising for a cultural event) covers, among others:

2. Scope of duties of culture fundraisers – example of an employee of the National Museum in Krakow

• monitoring the EU funds market, foundations, programmes of the Minister of Culture and National Heritage as well as all other institutions financing cultural institutions (e.g. the Municipal Office of Krakow, the Marshal’s Office, social funds),

• dissemination of information about possibilities and rules for fundraising among the Museum employees,

• development of plans for the submission of projects with the indication of financial support sources and the fulfilment of assumed obligations,

• maintaining contacts with the Museum partners financing the projects,

• initiating projects and cooperation with relevant organizational units of the Museum in the scope of the preparation of projects from the perspective of fundraising from the EU and from the programmes of the Minister of Culture and National Heritage as well as all other institutions financing cultural institutions (e.g. the Municipal Office of Krakow, the Marshal’s Office, social funds),

• preparation of application documentation for EU funds, national and foreign foundations, programmes of the Minister of Culture and National Heritage as well as all other institutions financing cultural institutions (e.g. the Municipal Office of Krakow, the Marshal’s Office, social funds) and its relevant archiving,

• preparation of applications for financial support for projects carried out using EU funds and other sources financing cultural institutions in agreement with and with the support of relevant organizational units of the National Museum in Krakow, as well as coordination of work in this scope,

• cooperation with the Finance and Accounting department of the Museum and coordinators of projects in the scope of formal aspects of prepared applications and formal aspects of reports required by grant provider organizations,

• monitoring submitted applications until the receipt of financial support.

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3. Education (preferred majors) and preferred hard skills (e.g. languages, computer skills, fund market knowledge) and soft skills (personal attributes) necessary in the culture fundraiser job

Education (preferred majors): • University degree in humanities or economics, trainings in the scope of fundraising, knowledge of promotion and marketing rules.

Experience:

• at least 3 years of work experience in a similar position,

• knowledge of the EU funds market, knowledge of project design and management techniques.

And necessary soft and hard skills: • Hard skills (e.g. language, computer skills, funds market knowledge) Very good working knowledge of written and spoken English, knowledge of another foreign language. Advanced computer skills (MS Office environment) • Soft skills (personal attributes) Communication skills, good work organization, managerial skills (particularly in the context of distribution of tasks in accordance with team members’ skills and ensuring their fulfilment), orientation on fulfilment of set targets, diplomatic skills in problem solving and discussions with grant providers, flexibility

Due to survey conducted in the frame of the In. P.U.T Project key professional qualifications/skills necessary for fundraising the organization of cultural events are:

• An understanding of the wide demands of cultural events management • An appreciation and awareness of the scope of cultural events and the different dynamics between the different areas – for example the difference between an art exhibition or a dance performance or a multi‐media activity. • A background in an arts discipline relevant to the event. • An understanding of the cultural market and audience dynamics involving an appreciation of the size and type of audience different events attract. • An ability to appreciate the breadth and scope of cultural arts marketing and a capacity to put those skills into action. • To have a good awareness of the funding market both public and private and appreciate the kind of events that different funders are happy to support. • To have good personal skills and be persuasive and engaging. • To have an acceptable level of financial skills to be able to cost an event and to generate the required budget and if necessary manage that budget in an operational context.

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Fundraising is as much a professional skill as anything else. It is a sales skill that requires engagement with the funder, the capacity to present a coherent argument as to why the funder should support this activity.

Understanding the cultural context may be relatively easy but the individual needs to learn from the expertise of those already working in this area. An informal training session or sequence of sessions that looked at successful fund‐raising events and how that success was achieved.

4. Training offer

The necessity to monitor the fund market on an ongoing basis and awareness of the dates of announced competitions as well as necessity to prepare oneself for each subsequent application by getting acquainted with regulations and guidelines for execution of each project.

From the Polish perspective the training offer for culture fundraisers is very rich and well organized.

The operators of respective funds are usually big state units of the Ministry of Culture and National Heritage, local self‐government units, including Marshal’s Offices, Municipal Offices, which carry out trainings for potential beneficiaries as part of their statutory activities.

At the same time, almost every EU programme provides funds for the so called technical assistance, which allows for the organization of systematic training action as part of each of components or priorities of respective EU programmes, addressed to respective target groups, including promotional actions.

The Polish government has made adequate absorption of the EU assistance one of the priorities of its policy, acknowledging a huge role of these funds in realization of the European cohesion policy and the process of European integration. Therefore, both public and private institutions planning to finance a cultural event from European funds may obtain support from Operators of these funds in the form of training package as well as individual consultations with representatives of respective institutions of grant providers, or well‐prepared applicant package on the websites of the administrators of funds and a set of publications developed to help the beneficiaries in the application process, as well as on subsequent stages of the implementation of a cultural project.

Trainings are also offered by commercial training companies.

Also in other countries there are various courses and organisations specifically designed for this area.

A range of Examples from England: The National Arts Fundraising School is directly aimed at short course updating and runs courses of 6 days in duration.

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The Institute of Fundraising – obviously covers all aspects of fundraising from charitable to artistic and cultural offering Certificates and Diplomas. Funding Central is a Government scheme funded by the Cabinet Office that directs people to the various areas of funding for a variety of projects. Various Arts bodies offer advice and short courses on arts fundraising. Wide range of ad hoc in house training

The goal of the British Fundraising Academy is helping to start and develop the career of those who want to work in fundraising. By bringing committed individuals into fundraising we are contributing to making fundraising the dynamic heart of the voluntary and not for profit sector. http://www.fundraisingacademy.com

In Portugal there are no specific courses on the subject although there are schools which offer this kind of training. E.g. Escola Profissional de Imagem in Lisbon offers a 25 hours training integrated into the course of events management. It is a theoretical module, which aims to sensitize students to the role of sponsors and clients in design, development, implementation and communication of events.

It gives the students a know‐how in order to distinguish the concepts of business, organization and institution, as well as understand the concept of brand image associated with the nature and mission of the company, organization or institution in order to develop strategies for attracting sponsors suited to each type of event. Scope of Contents e.g. :

Company, organization and institution Concept and types Dimension Property Industry Market Target group Objectives and role in society Constituent elements

Company Structure, Organization and Institution Concept and types analysis

Communication Company, Organization and Institution Concept, type and stakeholders Rules and reporting purposes

Branding / Corporate Image Standard Graphics Terms of use

The Company, Organization or Institution as clients Analysis of the customers Customer identification 5

Identifying strategies to approach customers System Operation of the customers Selection of current and potential customers to address Client Requirements Customer relationship Service

Sponsors

Analysis of the of the sponsors Identification of sponsors Identifying strategies to approach sponsors System Operation of the sponsors Selection of current and potential sponsors to address Relation with sponsors Levels of sponsorship ‐ Sponsor holder ‐ Main Sponsors ‐ Technical Sponsors ‐ Media Sponsors

Event Image License

A very interesting a network is created by the fundraising organizations in Europe. The most important is The European Fundraising Association (EFA) which is a network of 26 member associations (the national fundraising organisations) and observers from across Europe. The mission of EFA is “to promote the work of not‐for‐profit organisations and philanthropy by stimulating the creation and sustainability of strong national associations and to increase fundraising across Europe”

The organizations offer training programs in order to provide education related to fundraising conference and seminars promoting best practices in fundraising at national and international level. Moreover they support career development and the integration of the fundraising milleu in their countries, set and promote the highest ethical standards related to fundraising activities.

On the websites of the national fundraising organizations there are information’s about their activities, education offer and best practices:

www.fundraising.org.pl www.nfg.nu www.fundraising.cz www.vala.fi www.fundraisingverband.de www.frii.se www.innsamlingsradet.no www.assif.it

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5. Best practices of the National Museum in Krakow (focused on organisation of exhibitions)

As regards the best practices we present 3 projects of the Polish Partner of the InP.U.T Project: I. the renovation and exhibition project, whose effects includes the renovation of a historical building as well as the creation of a new, permanent museum exhibition there, II. the exhibition project, whose effect, following the organization of a temporary exhibition, is the creation of an exhibition study area for exhibiting and storing, and III. the classic temporary exhibition

All the above mentioned projects have been implemented on the basis of external resources acquired by the Fundraising Department of the National Museum in Krakow.

Moreover, all three projects were coordinated on their preparatory stage by the representative of the Fundraising Department, and in the case of the temporary exhibition a Team member was also the coordinator of the implementation and settlement stage of the project.

It should be emphasized that preparation of an application for investment or exhibition project from the EU funds is a long‐lasting process. For example, in the case of the “Gustav Vigeland and the Young Poland Sculpture” project – the application was submitted in 2007, the implementation of the project took 2 years and the settlement – almost one year. In total, it covers 5 years of work on the project. The work required different degrees of commitment in different periods.

I. PROJECT „NOWE SUKIENNICE” Renovation and modernization of the Gallery of 19th­Century Polish Art in the Sukiennice, Krakow

The Cloth Hall (or Sukiennice in Polish) is located in the Main Square, the historical centre of Krakow and the largest market place of Medieval Europe. It was built in the 13th century as a row of trading rooms covered with a single roof, and in the 14th century it was extended in the Gothic style. After the fire of 1555, it was restored after the Renaissance fashion and became the city's showpiece structure. It got its current shape following a vast renovation and remodeling in 1875‐1879 through tearing down the masonry buildings, stalls and shops that had been annexed

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to the Cloth Hall from the 15th century onwards. A precinct of wooden stalls was arranged on the ground floor, and exhibition rooms on the first floor. The Cloth Hall was last refurbished in the 1960s.

Historically, the Cloth Hall was also the first seat of the National Museum in Krakow, which was founded in 1879 as the first Polish national collection.

One of Cracow's landmarks today, the Cloth Hall houses the Gallery of 1 B^‐Century Polish Art, a branch of the National Museum in Krakow. It is Poland’s largest and most valuable permanent exhibition of 19th century painting and sculpture. The works by Bacciarelli, Michatowski, Matejko, Grottger, Rodakowski, Podkowiński, Chetmoński, Wyczótkowski, Malczewski and other pre‐eminent artists, which are on view at the Cloth Hall, form part of the Polish national treasure and a major artistic attraction of the city and the region, visited by more than 50,000 viewers every year.

Notably, the Gallery at the Cloth Hall also has the function of a city salon, where concerts, celebrations and promotional events are held.

However, the history and beauty of the Cloth Hall were not matched by the building's technical repair or quality of services. Its condition is was not adequate to the artistic merit and historical prestige of this unique and exceptional building. Since the renovation in the 1960s, this historical facility has reached its limits of technical efficiency. The constructional defects that come to view every now and then, the outdated technical infrastructure, non‐compliance with modern requirements of art safety, display and storage, as well as some occupational safety considerations and the lack facilities for the disabled show a pressing need for renovation and upgrade.

Project NOWE SUKIENNICE ‐ Renovation and Modernization of the Gallery of 19th‐Century Polish Art in the Sukiennice has been prepared by the National Museum in Krakow. The primary aims were to preserve the historical tissue of the building, to protect its stocks of art, and to create a modern museum that best addresses the expectations of the modern art lover and tourist.

POJECT’S KEY OBJECT1VES:

• To carry out building conservation and upgrade works • To adapt the historical facility for higher accessibility and public appeal • To ensure proper conditions for the storage and display of works of art, in conformity with modem preventive conservation standards • To make the Museum's exhibition, research and educational offer more attractive • To improve work conditions

THE GOALS WERE ACHIVED THROUGH:

• Carrying out extensive conservation of the architectural decor and detail • Upgrading and replacing of the electrical wiring, the heating system and the water and sanitation service • Installing an air conditioning system • Installing a new system of safe lighting of art works • Upgrading the monitoring and security system • Providing disabled access facilities for the museum • Obtaining new exhibition and storage space • Building a new reception hall, cafe and a relax room combined with a museum shop 8

• Adapting rooms for lecture and multimedia presentation needs • Renovating the terraces (never open before) and make them accessible for tourists • Preparation of a new exhibition scenario along with the educational program.

Project duration: 2007‐2010

Total project value: 8.733.610 Euro:

Project supported by a grant from the Norwegian Financial Mechanism (5 235 799 EURO 60 % of the project’s budget).

Co­financed from the resources of the Ministry of Culture and National Heritage

It is worth mentioning that the gallery has a permanent patron, enabling it to organize educational, promotional and other events on an ongoing basis.

The Patron of the Gallery of 19th Century Polish Art in Sukiennice:

II.

Krakow within your reach. Architectural sculpture from the collection of the National Museum in Krakow

Project duration: 2008‐2010

The exhibition – the study area “Kraków within your reach” presented in the cellars of the Palace of Bishop Erazm Ciołek includes more than 800 original fragments and plaster casts of

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architectural sculptures. The idea of the exhibition is to provide the opportunity to have a contact with exhibits that are usually outside the range of human sight. Since its creation, the National Museum in Krakow has been collecting stone architectural sculpture, dismantled from reconstructed or renovated Krakow churches, public utility and residential buildings. Simultaneously, the museum has been collecting plaster casts substituting sculptures that could not be obtained for the collection but which were indispensable for the continuity of museum narration about the history of art in Poland. The heyday of this collection covered the years from the interwar period to the beginning of the 1960s, when it was exhibited in the Town Hall Tower in the Main Market. As a result of closure of this exhibition after several dozen of years, even experts, particularly from younger generations, gradually forgot about the existence of this collection. An opportunity to change this situation arose in 2007 when the new department of the National Museum in Krakow – the Bishop Erazm Ciołek Palace at Kanoniczna Street – was furnished and made available for public use. The particularly picturesque underground interiors of the Palace of Bishop Erazm Ciołek were made available for the exhibits stored for almost 50 years in the former exhibition in the Town Hall Tower. Architectural sculptures, made of stone, and thus resistant to humidity and temperature fluctuations, have been exhibited on special openwork metal frames. Special showcases were designed for plaster casts which are more sensitive to changing external conditions. The biggestones, those made of glass, have been placed in the centre of rooms so as not to obcure the beautiful, raw sections of brick and stone walls, as the gothic walls and vaults of the underground galleries constitute thr natural arrangement of the exhibition. Smaller objects are exhibited in floor showcases, while their duplicates are placed inside, iosed drawers. At the core of the exhibition there are monuments connected with Krakow and its most famous buildings, above all the Cathedral and the St. Mary’s Basilica. These are mostly plaster casts of hardly accessible details that may be observed closely only very rarely during thorough conservation, when interiors or facades are covered with scaffolding. Casts made from fragments of bells (inscriptions and decorative elements) from several dozen of churches in the Małopolskie Province constitute a unique group of exhibits. The originals are usually inaccessible, or sometimes they do not exist anymore as a result of sequestrations during the two world wars. As the appeal of architectural sculpture is not as powerful as in the case of representative art with complex stories and interesting contexts, we deemed it necessary to make the exhibition more attractive through the use of multimedia. To evoke the relevant mood, the lapidarian exhibition is accompanied by a musical background, played on lithophone, which we called “The Music of Stones”. Whereas on a large holographic screen the museum presents short films made especially for this occasion which present the function of architectural fragments – that is the exhibits in the structures they originally come from. On the LCD screen there are films shown presenting the history of the collection as well as the conservation technology applied to plaster casts. An audio‐guide route in various language versions leads through the exhibition and provides several dozen of stops. The multimedia framework of the exhibition is completed by kiosks with touch screens enabling visitors to flip through the electronic version of the collection catalogue.

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The aim of the exhibition project “Krakow within your reach” was first of all to present the practically unknown huge museum collection of the architectural sculpture. On this occasion, all exhibits underwent conservation and protection processes, which entailed the testing of conservation methods not used before on such a scale. Moreover, a cast of the headstone of king Kazimierz Jagiellończyk was made as a compensation for a significant loss during the wartime. The exhibition has an innovative character as it regards objects that until now have not been the subject of systematic research in Poland, also constituting a great source of knowledge in the area of art history, conservation history and exhibition history. The exhibition has been adapted to the needs of the visually impaired by issuing a guide in the Braille alphabet and arranging a special visiting route making certain exhibits available for touching. The system of inductive loops allows to turn on the audio‐guide at the moment a visually impaired person gets to the exhibit. A guide written in the Braille alphabet was also prepared. The project has reached the planned effect – the set tasks and indicators were realized, which was confirmed by the control carried out by the Marshal’s Office of the Małoposkie Province last year. The “Krakow within your reach” project created a link between the past and the future. The oldest collection and exhibition concepts of the 19th century were confronted with modern audiovisual technology of the 21st century. The authors of the project wanted to prove that the use of intellectual and material heritage of our predecessors need not entail going backwards or any methodological regress.

EXHIBITION PLAN:

(Tylny Dziedziniec – Backyard)

Total project value: 878 614.02 PLN

Financial support from the EU Funds 364 664.35 PLN

The Project was co­financed from the European Regional Development Fund as part of the Małopolska Regional Operational Programme for 2007­2013.

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Co­financed from the resources of the Ministry of Culture and National Heritage

Media patronage: TVP Kraków, Radio Kraków, Art&Business, Sztuka.pl

III.

Gustav Vigeland and the Young Poland sculpture .

Project duration: 6 January 2009 ‐ 6 January 2011

The National Museum in Kraków together with the Vigeland‐museet in Oslo have prepared a project an exhibition entitled Gustav Vigeland and the Young Poland sculpture .

In the frame of this project was created an exhibition” On the paths of the soul. Gustav Vigeland and Polish sculpture around 1900” which was on display in the Vigeand Museum in Oslo (May – June 2010) and at the Main Building of the NMK (October – December 2010).

This was the first exhibition showing the masterpieces of Polish sculpture from the period 1890‐ 1914 in the context of the works of Gustav Vigeland (1869‐1943), Norway’s most famous sculptor, whose art was promoted in Poland by Stanisław Przybyszewski. This project was the only exhibition project which received funding from the Cultural Exchange Fund (as a result of the 1st call for proposals) under the EEA Financial Mechanism and the Norwegian Financial Mechanism.

Gustav Vigeland ‐ Norway’s most famous sculptor is best known for the creation of the Sculpture Park in Oslo, popular among locals and tourists alike. This monumental landscape project took a few decades to complete. It features over 200 bronze and granite sculptures which symbolize various stages of the human life and are proof of the artist’s interest in the human body. At the centre of the park is the famous Monolith composed of intertwined human figures rising towards the sky. The Vigeland Museum (Vigeland‐museet) is housed in the building where the famous artist lived and had his atelier and which was given to him in exchange for creation of the sculpture park. Vigeland was a versatile artist – his total body of works includes woodcuts, drawings, sketches. He also designed the wrought iron gates for the Vigeland Park as well as other smaller wrought iron pieces including lamps and candlesticks. Vigeland’s early works are not very well known even in his native Norway. In the 1890s Vigeland was a member of an international artistic and literary society in Berlin. He was a friend of Munch and Stanisław Przybyszewski. The current exhibition covers this period of his artistic career and provides evidence that his works struck a resonant chord with many Polish artists.

Gustav Vigeland created a peculiar variety of symbolism based on a naturalistic study of the

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human figure. For Vigeland and several leading Polish sculptors of his time the human body was first and foremost a vehicle for powerful emotions, erotic passions and existential angst. Vigeland’s fascination with human carnality provides a pretext for deeper reflection which links him to Polish artists such as Konstanty Laszczka, Wacław Szymanowski, Bolesław Biegas and Xawery Dunikowski.

An important feature of the exhibition will be The Kiss from 1897, donated to the National Museum in Kraków by Feliks Jasieński in 1920. This is the only sculpture by Gustav Vigeland held in a Polish collection.

It is not without good reason that the exhibition will be shown in Kraków, this capital of symbolism and decadentism. In 1899 in the 7th issue of Kraków magazine Życie Stanisław Przybyszewski published reproductions of parts of Vigeland’s Hell relief. One of them featured the figure of Satan: a naked, muscular young man. For the prudish, middle‐class society of the late 19th century Kraków this was an insult to morality. Przybyszewski, thoroughly fascinated with the Vigeland’s art, devoted to him a chapter of his book On the paths of the soul – hence the title of the exhibition.

The exhibition was accompanied by a catalogue and an international academic conference.

We have prepared an extensive educational program concerning the exhibition itself, the Young Poland period in Polish visual arts as well as Stanisław Przybyszewski and his contemporaries. The program was aimed at high school and university students.

Project supported by a grant from Iceland, Lichtenstein and Norway trough the EEA Mechanism and the Norwegian Financial Mechanism.

Sponsor of the exhibition in Poland:

Partner:

Media partners: TVP Kraków, Radio Kraków, Gazeta Wyborcza, Atr&Business, Sztuka.pl, Magiczny Kraków, Cracow‐life.com, Krakow POST, Kurs na Kurs, Artinfo.pl

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