> Fundraising and marketing ISSUE 54 | APRIL 2014
A few of our favourite fans Merging fundraising and marketing Giving is good for you
> The everyman > Promoting arts > The serious philanthropist in Europe business of circus
AMA_JAM54_V2.indd 1 09/04/2014 17:06 Contents JAM is published by JAM is sponsored by
www.a-m-a.co.uk www.target-live.co.uk
> Regulars In a Circus: Spotlight ...... 3 © Florence Delahaye / plainpicture Research round up ...... 4 Arts Fundraising & Philanthropy Programme ...... 12 Just a minute ...... 22 Research Roundup A few of our favourite fans > Fundraising and marketing
A few of our favourite fans ...... 6
Merging fundraising and marketing ...... 9 Case study: Promoting arts in Europe .... 14 ( Case study: The serious business 0 of circus ...... 16 6 The everyman philanthropist ...... 18 Giving is good for you ...... 20 Merging fundraising Giving is good for you Just a minute and marketing
JAM is compiled and edited by JAM is published four times per annum. Helen Bolt with Cath Hume. UK subscription rates £39 per annum Overseas subscription rates £59 per annum JAM is published by the 6-month trial membership: receive JAM and benefit from Arts Marketing Association member rates for training events, workshops and conference 7a Clifton Court, for just £59 + VAT. e [email protected] Cambridge CB1 7BN t 01223 578078 © Arts Marketing Association, 2014. e [email protected] All rights are reserved and reproduction of any parts is not w www.a-m-a.co.uk allowed without the written permission of the publishers. Tw @amadigital Opinions expressed in JAM are not necessarily those of the AMA and no responsibility is accepted for advertising content. Designed by Sugarfree Any material submitted for publication may be edited for t 020 7619 7430 reasons of style, content or available space. Meanings will not w www.sugarfreedesign.co.uk be altered without permission from the author. ISSN 1474-1172
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AMA_JAM54_V2.indd 2 09/04/2014 17:06 > EDITORIAL
A united front
undraising and marketing and marketing and how the different page 20 John Nickson considers if is the timely topic for this functions can and should work together the arts and cultural sector is doing a spring issue of JAM. We’ve for the benefit of the organisation. good job of asking. been here before. A long- Michelle Wright from the Arts We head to Aspex in Portsmouth to ago JAM discussed the Fundraising & Philanthropy programme, spend 60 seconds finding out about Fimportance of these two functions of which the AMA is a consortium their Communications and Audience working successfully together and partner, takes over the Middle Pages Development Manager; Gareth it seems that now, more than ever to explain why increasing fundraising Colwell and a well-designed spotlight before, this is something of an expertise is so very important and how falls on the AMA’s Jake Young. important relationship to which we you can get involved. should aspire. Dr Alan Clarke shares some of his Heather Maitland rounds up some experiences of ‘going into Europe’ research into changes in attitudes with a range of European-funded to charitable giving in this economic projects (page 14) and Craig Gamble climate (page 4) while Laura Pugh from Greentop Circus takes a Greenfield explores how we can use look at how Circus schools are uniting our databases of attenders to find our to develop a culture of Circus and a Helen Bolt favourite fans and possible donors culture of fundraising (page 16). Marketing Manager, AMA conference (page 6). Caroline McCormick explores the and JAM editor On page 9 Sarah Gee looks at how possibilities of taking philanthropy e [email protected] we can successfully merge fundraising further than cash gift giving while on tw @amadigital
> SPOTLIGHT Spotlight on Jake Young
’ve come to arts marketing via and engineering – architecture. formal training, yet was yearning to be an … eclectic route. Happily / I studied architecture at the Leeds more involved with design again. hopefully this means I bring School of Architecture, Landscape When I saw an opportunity to join with me eclectic experience and and Design. Upon graduating while the AMA’s team not only as a marketer, eclectic skills. the construction industry was at but also as a designer, I jumped at the II grew up in Cambridgeshire a standstill I moved to Norwich to opportunity. For the last 9 months and have always had a love for art pursue freelance design, all the while I have enjoyed fusing my design and expression. Growing up with a subsidising myself with that gold- background with growing marketing mechanically-minded brother meant standard of wandering graduate experience, and look forward to the that from a young age my love of practices – making below-par onward journey. making things that look pretty was cappuccinos in pretentious cafes. fused with – and often destroyed It was through the freelance work I by – a rigorous process of testing, undertook that I had my first flirtations dismantling, understanding and with marketing and sales collateral. improving (although usually this went My travels then took me back to wrong at the dismantling phase.) This my home city of Cambridge where was combined with the influence of a I began working for the world’s talented older sister with a penchant largest, very corporate, car club. In a for sociology, communications and short period of time I moved from a media, for whom my friends and I were member of the field marketing team Jake Young often bribed into morally questionable to having responsibility for the entire Marketing and Design case studies. Cambridge operation, covering the Coordinator When the time came, all these whole marketing mix and running a Arts Marketing Association influences pointed me towards a field team. I found that I had a budding e [email protected] degree that combines art, sociology knack for marketing despite the lack of w www.a-m-a.co.uk
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AMA_JAM54_V2.indd 3 10/04/2014 12:11 Exasperated, cynical and broke Heather Maitland looks at changes in attitudes to charitable giving in this economic climate
e’re in the UK’s longest, In 2011/12, the median monthly gift Research commissioned by the Centre deepest post war was £10.2 This has fallen, but only in line for Charitable Giving and Philanthropy recession and Middle with overall household spending.1 A (CGAP) indicates some resistance England has fled to Aldi small number of donors give very large to giving as a substitute for public W 1 and Lidl. That has to be bad news for amounts and the National Council spending. And people want to help charitable giving. for Voluntary Organisations (NCVO) make a lasting change, not provide a But is it? The number giving to charity estimates that these fell from 100 gifts temporary solution.5 in a typical month has held steady for worth a total of £1 billion in 2008/9 to But this is too simplistic an 30 years1 at around 56%. There have 80 worth £872 million in 2011/12.2 explanation. A passionate belief in been ups and downs of, at most, two Charities paint a mixed picture, social justice is not necessarily followed or three percentage points in the past though. The top 500 say their income up by action. People don’t donate decade. So, 28.4 million individuals gave in 2011/2 was down by £70 million where the money is most urgently £9.3 billion in 2011/122 (and 1% of this on the previous year with the largest needed but to causes that promote goes to the arts). Just a quarter of us do losing the most.4 But over five years their own preferences, support people little or no charitable activity.3 since 2008, the opposite is true. like themselves and relate to their So why hasn’t the recession had Bigger charities grew more than own life experiences.1 97% say their more of an impact? Maybe it’s smaller charities although this was not donations reflect their personal values. because we don’t give in proportion at their expense.1 Experiences like seeing severe hardship to our disposable income. The least The real difference is made by just at first hand when travelling, being ill well off give most: the poorest 10% of a few people: 9% of the population or suffering a loss in the family can all households donate 3.6% of their total are responsible for two thirds of all spark a long-term commitment to a household spending while the richest charitable activity. These are people particular cause.6 donate 1.1% of theirs. who believe it is important to help What people give to depends others and feel rewarded by doing so. on their moral framework. Moral They feel a sense of connection to conventionalists tend to be passive their community and are much more citizens and so donate to local likely to say ‘hello’ to people on the causes that are relevant to their own street in their neighbourhood. Perhaps family’s needs and concerns. Moral 100% this sense of connection is why they individualists give to get something are interested in a greater variety of back, like social recognition or career 90% social causes than those who give less advancement. Moral critics are time and money. committed to social change but tend 80% But there has been a shift in what to be idealists so become disappointed 70% we give to. Donations to social causes with how charities operate.1 are down and those to animal charities It’s complicated. Donors talk about 60% significantly up.4 How can this be, if how choosing causes to support is 50% community is so important to the stressful and, because they are aware people who do the most? of how little they really know about 40%
30%
20% The real difference is made by just a few people:
10% 9% of the population are responsible for two thirds
0% of all charitable activity
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AMA_JAM54_V2.indd 4 09/04/2014 17:06 > RESEARCH ROUND-UP
FOOTNOTES
1. CGAP Five-year review 2008-2013, Centre for 21/2/2014 from www.slideshare.net/iof_ 7. Arthur Gautier and Anne Claire Pache, Charitable Giving and Philanthropy, 2013 events/how-the-public-is-responding-to- ‘Corporate Philanthropy: a review and 2. Karl Wilding, ‘Charitable Giving in Britain: charitable-causes-in-the-current-climate- assessment’, Journal of Business Ethics, where now and what next?’ NCVO, October michael-wagstaff-you-gov?qid=ad2ebf56- Springer, November 2013 2013 downloaded on 21/2/2014 from 0bbf-4a27-af57-f1cb56b8e532&v=defa- 8. A Year of Giving, Charities Aid Foundation, www.slideshare.net/karlwilding/charitable- ult&b=&from_search=1 November 2013 giving-in-the-uk?qid=aa9079d0-8749-4d1f- 5. Why We Give, Charities Aid Foundation, 9. Ravi Pappu and T. Bettina Cornwell, 930c-41187381425e&v=default&b=&from_ 2014 ‘Corporate Sponsorship as an Image search=1 6. Bobby Duffy, ‘Mind the Gap: a new crisis Platform: understanding the roles of 3. Britain’s Civic Core: who are the people of trust?’, Ipsos MORI Social Research relationship fit and sponsor-sponsee powering Britain’s charities?, Charities Aid Institute, March 2014 downloaded 6/3/2014 similarity’, Journal of the Academy of Foundation, September 2013 from www.slideshare.net/IpsosMORI/ Marketing Science, Springer, 2014 4. Michael Wagstaff, ‘How the public is mind-the-gap-a-new-crisis-of-trust- responding to charitable causes in the 31952896?qid=0f288f2a-8a0d-4937-bc79- current climate’, YouGov downloaded on 1a116f593c58&v=qf1&b=&from_search=1
the cause, ultimately exasperating.1 too much on administration.4 There suspicious of the company’s motives. This means the proportion of those doesn’t appear to be anything as As a result they view both company and feeling under pressure from charities serious as a crisis of confidence, the cause less positively.9 has increased from 60% in 2010 to 68% though. A third of people say their Consumers and stakeholders in 2012, with charity workers on the views of charities have grown more take their cues for this from just a street and high volumes of direct mail positive against a quarter who say few signals as they don’t have the a particular irritation.6 their views are now less positive.7 knowledge, time and motivation to Of those who do not donate, 42% As people get older, they become evaluate the sponsorship deal properly. say it’s because they cannot afford it.4 more likely to give, peaking at 65% of over Their judgements about the fit are But is this just an excuse? Nowadays, 65s compared to 39% of under 24s.8 So based on the type of company and not everybody agrees we need it may be a cause for concern that older the type of cause. Their judgements charities with a social focus. People people are more likely to feel increasingly about the sincerity of the relationship who give at least £10 a month are more negative about charities. Negative views come from associations specific to likely to believe that there is ‘quite a lot focus around expenditure on running the company and charity brands. They of poverty in Britain today’ and that it costs and executive salaries.7 These are particularly suspicious if messages is caused by social injustice. They are views are possibly ill-informed. One study come from the sponsor rather than the much less likely to blame poverty on found, depressingly, that perceptions of charity and if they overemphasise the laziness or a lack of willpower.3 a charity’s efficiency are often judged by company not the cause.9 There is some evidence that we the frequency and quality of direct mail.1 The more touch points between are increasingly seeing what we This trend towards cynicism also the cause and the company, the more give as an investment rather than applies to corporate sponsorship. suspicious they are. The researchers altruism.3 We want a return. Just less Three studies in the past five years suggest that both charities and than three quarters of people said have found a positive relationship companies should choose partners they would only give to charities that between the amount of corporate in a different area to themselves.9 demonstrated their impact clearly and giving and financial performance.8 Another study supports this, showing 83% that more hard evidence would Sponsors believe this is because that cause-related marketing be likely to prompt a big increase their relationship with a cause means campaigns more effectively drive sales in their giving. Three quarters of customers and stakeholders view of frivolous, luxury products.8 donors, though, are happy with the them more positively.9 So, in an age of consumer cynicism, information they already receive.6 Convention says that this positive maybe the oil company would benefit Corporate donors have also become view depends on a clear logic for more if it focused on healthcare or more focused on getting a return, the sponsorship. Customers need even the arts rather than ducks. albeit in the long term, especially to understand the common area of since leading economists in the 80s interest between the charity and the argued that altruistic donations were company – the ‘fit’. An oil company and a misuse of shareholders’ money. This a conservation charity, for example, both enlightened self-interest comes from a have an interest in the environment, belief that a better society produces a which makes them a good fit. better business environment.7 Recent research, however, points out We’ve got cynical, too. Many people that consumers and stakeholders are Heather Maitland are suspicious about the motives of not stupid. They can spot that partners Consultant and Associate Fellow at people who give money to charity.6 like these have opposing impacts on the the Centre for Cultural Policy Studies, Only half of those who do not donate common area of concern – one tends University of Warwick think that charities are trustworthy. to conserve the environment and the e [email protected] A third thinks that charities spend other to pollute it. This makes them w www.heathermaitland.co.uk
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AMA_JAM54_V2.indd 5 09/04/2014 17:06 A few of our favourite fans Laura Greenfield looks at using your database of attenders to find the donors to help support your organisation
he people who donate money to your www.artsquarter.co.uk/reports.html). These individuals organisation are among your most devoted are likely to be able to make or influence donations of fans. Your donors don’t just care enough to £5,000 or more if cultivated well. While buy tickets: they care so much they are happy only a small proportion of these people will ever to pay ‘over the odds’ to do so. make major donations to your organisation, this is TDonors tend to share some key characteristics: they still a very promising statistic. For example, if your are loyal, engaged and enthusiastic. At the moment database has 150,000 people in it, you would only it seems as though almost all arts organisations are need 0.034% of people to donate £5,000 in order to attempting to identify new potential donors, and raise £250,000. being able to pinpoint the audience members who Many organisations have an amazing but under- share these characteristics is an ideal starting point. used resource for identifying the devoted and These groups are the most likely to sign up for wealthy audience members who are likely to become regular giving or membership if you ask them and their next donors. Ticketing databases contain a while more people will always say ‘no’ rather than ‘yes’, huge amount of information on audience behaviour focusing on the people in this group will give you the and preferences, and even on their wealth. best chance of success. Michael Nabarro, Co-founder and Managing If you can identify individuals who are not only Director of Spektrix, says: ‘Identifying major donors dedicated but also wealthy, then you have a pool among your audience base may feel a bit like finding of prospects that may be able to make major and a needle in a hay stack. But your database is one transformative gifts. In 2012 Arts Quarter surveyed of the key tools you have to shrink that hay stack. 126 arts organisations and found that 3.4% of the Ticketing systems typically provide a set of tools to individuals in their databases had personal wealth allow marketers to segment their audiences, and (not including the value of their homes) of more these tools are often underused when it comes to than £1m (Increasing Individual Giving to the Arts fundraising’.
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Many organisations have an amazing but under-used resource for identifying the devoted and wealthy audience members who are likely to become their next donors. Ticketing databases contain a huge amount of information on audience behaviour and preferences, and even on their wealth
The data available from organisation to organisation can time between many venues, but in a rural area they have vary hugely, and of course no-one has a tick box that limited choice. allows you to segment by ‘enthusiasm’ or ‘loyalty’. Despite this, every database should contain some information How long have they been coming to your venue? to allow you to make conclusions about these You may have audience members who have been characteristics, as illustrated below. While data on wealth visiting for decades – maybe since your venue or might initially seem even more limited, there should be organisation was founded. In fact, for almost all some information to guide you, as well as the option to organisations, some audience members have been augment your existing data with ‘wealth screening’. visiting for longer than data has been collected about their visits. Nonetheless, it can be a key indicator of QUESTIONS TO ASK WHEN LOOKING FOR YOUR loyalty. While attendance may drop at different times MOST DEDICATED AUDIENCE MEMBERS: of life (for example, if someone has young children or has mobility issues) this does not necessarily mean that How often do they visit? enthusiasm has dropped. How often do your most enthusiastic audience members visit? Once you have worked out the ‘peak’ Are they signed up for your mailing list? attendance for your organisation, you can segment Your most engaged audience members will want to based on this data. know what’s going on, and may even be signed up to For a gallery with quarterly exhibitions ‘peak’ multiple mailing lists (for example, both post and email, attendance may be four times per year, as most people or mailing lists for both dance and drama). You can also will only visit each exhibition once. For a theatre with a look at how often people open the emails, and how different production every week, four times a year might often they click through to find out more. If information be relatively low. Attendance levels will also vary based about memberships or donations is included in newsletters, on location: in the centre of London people can split their these click throughs will be particularly relevant.
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By asking these questions, you should be able to identify the people most likely to become your new members, regular donors, and even major donors
Do they make small donations or buy extras Where do they live? regularly? You know your local area, and can identify where the most If you ask people to make small donations while buying expensive house are. You could look for people in particular tickets online, look at the individuals who choose to do postcodes or boroughs, or even on particular streets. You this every time they buy a ticket. Better yet, look at those can also cross reference addresses against Land Registry who choose to donate more than the suggested amount. data through websites like www.mouseprice.com and Alternatively, look at people who always choose to add www.zoopla.co.uk in order to find out property prices. on merchandise, like programmes or play texts. Have they been identified as wealthy? QUESTIONS TO ASK WHEN LOOKING FOR YOUR It is possible pay to have your database ‘wealth screened’. WEALTHIEST AUDIENCE MEMBERS This involves matching the people in your database against a ‘wealth intelligence database’ of people with the capacity How expensive are the tickets they buy? to give or influence donations of £5,000 or more. You pay to Audience members who always sit in your most expensive find out who the wealthy people in your database are, but seats or buy your premium tickets are more likely to have you can usually get a free summary report to start with. This the capacity to donate than those who take advantage of service is offered by a number of organisations, including standby or restricted-view prices. An audience member’s Prospecting for Gold (www.prospectingforgold.co.uk) and total spend per year may also be significant. Like everything Arts Quarter (www.artsquarter.co.uk). While there are costs else, this will vary from organisation to organisation, but involved and the information provided can only be used as anyone who spends more than £1,000 a year on tickets a guide (the wealth databases are not infallible) it can be a seems like a strong prospect. helpful tool to identify major donor prospects, and perhaps kick start a major giving programme.
By asking these questions, you should be able to identify the people most likely to become your new members, regular donors, and even major donors. Your ticketing database can then continue to support you as you begin the process of cultivating your prospects, providing valuable information on the exhibitions or productions they enjoy, when they like to visit, and even how far in advance they like to plan
Laura Greenfield Arts fundraiser, Head of Development at Cambridge Arts Theatre. Trustee at Phakama UK Tw @LauraVNG e [email protected]
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Merging fundraising and marketing Sarah Gee takes a look at how different functions can, and should, work together for the benefit of the organisation
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity.
he opening lines of A find where our Twitter followers range of arts and cultural venues, Tale of Two Cities seem are located. Through Area Profile I don’t think someone should be curiously apt for the Reports, we can find more people ‘owned’ by one department or landscape in which we like our existing attenders. And another. I have a relationship with operate today; these truly so on … that’s all information that the overall brand, I want to feel that Tcould be revolutionary times. We could be gold dust to a fundraiser, I’m being treated with respect and have never known so much about our and yet it often stays buried in my support is being appreciated. audiences, had access to so much other departments, for want of a In some cases I may wish to join a data, and yet we have never ignored conversation and a sharing session. membership scheme to get advance so much potential to reach so many So why is this information not information, feel more involved or people. Put simply, we cannot afford shared? There are many complex grab tickets before anyone else can get to do that any longer. We have to reasons, but the most common ones their hands on them (David Tennant concentrate on building relationships, in my experience are silo-working in Richard II, anyone?); in others I may of all sorts, with our audiences as it’s and personal fiefdoms – in other make a one-off or a regular donation this fan base that will help sustain words, marketers and fundraisers not to support the company’s work. I am, us as other types of funding and talking to each other, as they believe of course, more likely to give if I’m monetary investment dwindle. they have different disciplines, and asked and I’m happy for someone to Let’s start by examining what they jealously guard ‘their’ people, make suggestions, but I really don’t we know about audiences per rather than thinking of them as want to feel (or worse still, know) that se. There’s a proven link between organisational contacts. I find that I’m being passed from one team to frequency, loyalty and propensity baffling. As a regular attender at a another in the process. to give – customers who visit regularly are more likely to support philanthropically. Through profiling, we can tell what media I don’t think someone should be ‘owned’ by one they consume, where they shop, how often they buy a new car. department or another. I have a relationship with Through wealth screening, we can pinpoint decision makers, FTSE 500 the overall brand, and I want to feel that I’m being Directors, and trustees of charitable treated with respect, and my support is being foundations who are already our fans. Through geo-tagging, we can appreciated
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AMA_JAM54_V2.indd 9 09/04/2014 17:06 probably be able to devote more resources to internal and external research because there will be two teams needing the same or similar information. As a company/charity, you’ll raise more money, and donors are more likely to buy tickets and visit more often, so a virtuous circle is established. On the communications side too, colleagues can provide enormous support, as how the organisation is perceived in the wider world is absolutely key for successful fundraising. Think about the key people in your business – the visionaries, the artistic leaders – and how much easier it would be to convince people to support your work if they were household names. For me, it has always made sense lapsed donors live. One plus one can We live in an era where the cult of for marketing, communications and equal three if you work together. celebrity is difficult to ignore. fundraising to work closely together And by all working together, we can I know a fair bit about that, as – or even to be part of a single put customers – visitors, donors, I joined the City of Birmingham team – because these functions audiences, stakeholders and any Symphony Orchestra just after are fundamentally about your other descriptor you care to deploy Sir Simon Rattle left. The external organisation’s interaction, externally, – at the centre of an organisation’s perception was that it was an with people. decision-making processes, which organisation in flux, without strong Marketing has a key role to play is something we all aspire to. You leadership, and it made fundraising in helping fundraisers raise more will break down organisational silos, challenging until the new Music money, particularly from individual and you’ll ensure that there’s a single Director became more established. giving. Think about it, marketers external message and greater clarity The way we changed perceptions, know where potential donors live, in on your brand (fundraisers know and turned around the fundraising the same way that the development this as the Case for Support – it’s situation, was through a sustained team knows where the current and basically the same thing). You’ll campaign of positive news stories,
So why is this information not shared? There are many complex reasons, but the most common ones in my experience are silo-working and personal fiefdoms – in other words, marketers and fundraisers not talking to each other, as they believe they have different disciplines, and they jealously guard ‘their’ people, rather than thinking of them as organisational contacts
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A DEFINITION: FUNDRAISED MONEY COVERS
Individual giving, Awards from Corporate Public sector Community and covering everything trusts and support funds other fundraising from bucket foundations (sponsorship, ------activities collections to major ------donations, gifts ------donors and legacies in kind, corporate ------memberships, etc.)
------For the purposes of this article, it does not cover generated income (e.g. revenue from bars and catering) and it does not cover entrepreneurial activities (e.g. brand extensions, consultancy services, merchandise).
which saw fundraisers working very Like all relationships, getting it right can be closely with the communications team to pump out clear and magic, but getting marketing, development and consistent key messages. So how could we work better communications to bond will take work and together in the future? Well, it investing time in hanging out together. And lots of seems that the revolution starts here. The recent announcement talking and maybe some drinking – doesn’t sound by Arts Council England (ACE) that those bidding for National Portfolio so bad, does it? Organisation status should ‘be committed to sharing approaches (across arts and museums) to the capture of audience data, using industry standards for capture, sharing, reporting and audience support and information, rather connections if we try hard enough. analytics’ is a hugely exciting step than concentrating solely on getting Talk to colleagues about what you forward for the entire sector, as the money; and connecting with them, are trying to achieve, harness the more we know about our audiences, not conning them. influence of your work crowd, and the more we know about our find new connections to secure the existing, potential and lapsed donors. Stop making assumptions about future. Presenting organisations, touring people Like all relationships, getting it right companies, and free-entry venues For sure, we can use segmentation can be magic, but getting marketing, have most definitely had a more tools, and extrapolate data until development and communications difficult time to date, without direct we’re blue in the face, but these are to bond will take work and investing access to audience data, if at all. people we could speak to. So let’s time in hanging out together. And This edict from ACE could be a game find out more about them directly, in lots of talking and maybe some changer, and let’s hope that it’s rolled particular why they love your arts or drinking – doesn’t sound so bad, out across the UK soon. cultural organisation, and what might does it? What else could we do to ensure motivate them to give. There’s an old a good relationship between fundraising adage: ask for money and fundraising, communications and you’ll get advice; ask for advice and marketing? Here are some simple you’ll get money. True! tips: Start connecting with Start thinking about things from colleagues the end user’s perspective In this brave new world, we are all Walk through an individual’s ambassadors for our organisations. relationship with your organisation Everyone has a role to play in and spot opportunities where a more fundraising, and we all have friends, coherent and integrated approach neighbours, family members, or Sarah Gee might build a stronger relationship professional contacts who could Managing Partner, Indigo-Ltd with them. I’m not talking about help secure funds. Think of it as a big Tw @IndigoLtd finding new points to sell things game of ‘six degrees of Kevin Bacon’: e [email protected] to them; I’m talking about giving we can all reach people within six w www.indigo-ltd.com
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Michelle Wright, CEO of Cause4 and Programme Director of the Arts Fundraising & Philanthropy Programme (AF&P) tells us why increasing fundraising expertise is so important and how you can get involved
he difficulties facing arts organisations in this The AF&P Programme has been developed and led by a economic climate are well documented. We consortium that includes the DARE Partnership of Opera know from our work with a wide range of North and the University of Leeds, my own organisation cultural organisations that as private-sector Cause4 and the Arts Marketing Association (AMA). giving in the arts comes under increasing pressure,T and with Government adamant that it will not THE FIVE MAIN PROGRAMME STRANDS TO restore lost funding to the arts but will rely instead on a THE ARTS FUNDRAISING & PHILANTHROPY drive to increase philanthropy, that the UK faces a situation PROGRAMME ARE: where pressure on our sector’s leaders and associated fundraising departments is intensifying. 1. Fundraising and development training With arts organisations now fundraising for their We offer a range of affordable one-day fundraising survival, it has never been more important to increase the training courses at Introductory, Practical and Strategic level of knowledge and skills across the sector. And not levels for people working in arts organisations, or as just for dedicated fundraising staff. Those organisations freelancers, to improve fundraising skills, confidence and that are most successful at fundraising develop a success. All courses are led by expert trainers who offer culture where it’s the responsibility of everyone in the practical guidance and recommend ways for participants organisation to play an active role in generating new to implement what they have learned immediately into sources of income. their work. A modular leadership programme for The Arts Fundraising & Philanthropy Programme came Development Directors will launch in autumn 2014. into existence in mid-2013 as a result of a Catalyst grant We also run half-day training courses in Trustee from Arts Council England and as part of an aptly named Leadership in Arts Fundraising & Philanthropy, programme entitled Transforming Arts Fundraising. designed for CEOs and Trustees to attend together, to From 2013 to 2016, the programme aims to improve explore ways in which Trustees can lead and support their the perceptions of the arts as a charitable cause and organisation’s fundraising strategies. enhance fundraising practice, encouraging leadership and Our Coaching and Action Learning training entrepreneurialism. Working with trustees, leaders, senior programme aims to support busy people who are leading managers and emerging talent our ambition is that the arts organisations or development teams. We want to programme will inspire, train and develop people at all help foster confident, resilient arts leaders and develop a levels, helping to achieve a networked, skilled and resilient peer-to-peer leadership community that will help people to arts workforce. share working practices and learn from each other.
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A number of Charity Placements have recently been 4. Research and digital development announced for people working in arts fundraising who are The Arts Marketing Association is leading on keen to expand their knowledge and understanding of the the creation of National Occupational Standards for Third Sector. The initial placements during spring / summer fundraising. They are also extending CultureHive.co.uk 2014 include the British Heart Foundation, the Science to include resources and tools to help fundraising and Museum, WaterAid and World Vision. development professionals discover and share examples of Working in partnership with The University of Leeds we best practice. are developing a National Summer School for Arts Working in partnership with The Audience Agency Fundraising and Leadership. This accredited residential we are developing Donor Finder to explore the potential course will run for the first time from 31 August to 5 to develop the understanding and use of consumer September 2014, offering an intensive programme of study intelligence in fundraising. Other work includes for emerging cultural entrepreneurs and led by renowned development of a series of seminars with the European academics from the arts and business schools. Sponsorship Association (ESA) and plans to develop pathways into the ESA Diploma for arts fundraisers. 2. Fundraising traineeships Our Arts Fundraising Fellowship Programme, the first 5. Innovation and international of its kind in the UK, aims to create the next generation Discussions are on-going with the British Council and of Development Directors and leaders skilled with the other international organisations regarding the possibility vision, entrepreneurial expertise and ingenuity to make a of extending the Programme into other European significant difference to the arts fundraising landscape. countries. From the 250 applications that we received in 2013, we recruited 15 graduate Arts Fundraising Fellows who Follow us on Twitter and sign up for the Arts Fundraising are all based within a host arts organisation. For our & Philanthropy newsletter so that we can keep you up to inaugural year we have three Fellowship hubs in the North date with the many exciting opportunities emerging over and South West of England and in London. Our Fellows the next couple of years – the Programme team, trainers, are participating in an intensive 12-month learning and and Fellows also regularly blog about various aspects of the development programme, while meeting ambitious Programme: www.artsfundraising.org.uk fundraising objectives for their host organisation. We will We welcome ideas to help us develop the programme shortly be recruiting for host organisations and Fellows for so please get in touch and help us shape these exciting Year Two of the Programme. opportunities to develop arts fundraising for the years to come. 3. Peer-to-peer leadership community We work closely with arts sector partners to ensure that our work is reaching, and is relevant to, people working Michelle Wright across the arts landscape in England. Sector-specific events Programme Director for 2014 include partnership projects with Dance UK, Arts Fundraising & Philanthropy Sound and Music, and the Visual Arts & Galleries Tw @artsfundraising / @MWCause4 Association (VAGA). We also have ongoing partnerships e [email protected] with the Association of British Orchestras (ABO), w www.artsfundraising.org.uk Free Word and UK Theatre. We are working in partnership with the Arts Marketing Association and their annual conferences in 2014 and 2015 will include a fundraising programme strand along with heavily-subsidised delegate rates for arts professionals working in fundraising and development: www.a-m-a. co.uk/AMAconference2014fundraisers We are also working with Regional Co-ordinators, development specialists working in arts organisations across England, to encourage live and digital networking and collaboration.
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AMA_JAM54_V2.indd 13 09/04/2014 17:06 Promoting arts in Europe Dr Alan Clarke shares some of his experiences of ‘going into Europe’ with a range of European-funded arts projects
articipating in European secondary schools, while Cred-Ability (http://ec.europa.eu/culture). projects can be complicated is currently creating internationally- Under its European Agenda for and demanding, but, in my accredited training programmes for Culture the EC has encouraged experience, the rewards are artists working in prisons: cultural diversity and dialogue, worth it. The first thing to www.cred-ability.eu promoted culture as a catalyst beP clear about is why you want to ‘go for creativity and innovation and into Europe’. There are many possible Linking up with groups working supported the role of culture in and perfectly acceptable reasons in a similar area through an international relations. In recent and I have worked on a wide range international network years it has focused particularly of projects where I have been lucky The PAN European Prison Arts on increasing awareness of the enough to experience most of them: Network brought together artists and importance of the cultural and educationalists working in offender creative industries at EU level. Specific Expanding your current learning across Europe, while the funds are available for all these activities to a wider audience PriMedia Network encourages the use areas, alongside encouragement for The Big Picture Network identified good of ICT and multimedia in prisons: integrating art and culture into other practice in using the arts in further www.pri-media.eu fields, such as education (see below). education colleges across Europe. In my experience the main In all these cases the impact for most problem with bids under the Culture Initiating creative activities at of the participants has been extremely Programme is that the application international level positive. However, you do need to be conditions are complicated and The Will to Dream project promoted very clear on whether the specific aims demanding, along with the insistence theatre with inmates while Movable of your particular initiative are in line on at least 50% matched funding, Barres supported good practice in with the objectives of the particular compared with the usual 25% for the music and dance in European prisons. funding strand through which you education strand. Matched funding are applying. A word of warning: you is the contribution made by the Sharing innovative practice with cannot use this funding to make a project partners in addition to the those in other countries direct financial profit. European allocation, usually covered Art and Culture in Prison published a The European Commission (EC) through in-house staff costs but also detailed survey of prison arts in Italy, awards money in the form of grants accommodation, equipment hire, etc. Germany, Catalonia and the UK, and in order to implement projects or The main financial support I have has been widely circulated. activities in relation to European Union received for cultural initiatives has policies in a number of fields, including been through the education strand, Developing specific ‘products’ research, education, humanitarian although I have also been funded using the expertise of different aid, etc. The specific funding strand through projects under the culture and cultures: supporting artistic and cultural youth programmes. Prior to this year Dialogue developed a new approach activities, particularly at professional the education funding was through to delivering European literature in level, is the Culture Programme the Life Long Learning Programme, but
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AMA_JAM54_V2.indd 14 09/04/2014 17:06 > CASE STUDY
Cred-Ability pilot, Goldsmiths, University of London. Photo: © Christine Cellier
since January these have been brought culture. Other opportunities can be who is fully aware of the EC’s together under Erasmus +, covering the found through sympathetic regional requirements and communicates fields of education, training, youth and authorities or independent charities these to the partners, sport for the period 2014 – 2020. Given and foundations, such as the European • make sure your partnership has a that Erasmus + has only just started, the Cultural Foundation, which may also be wide geographical spread, a diversity best way of identifying its suitability willing to supplement existing EU grants. of skills, a mix of experiences, a for arts interventions is through the EC As mentioned earlier, participating strong commitment to the project website: http://ec.europa.eu/education in European initiatives can bring a and includes an effective webmaster, or, if you are still unclear, contacting wide range of benefits both to your • your work programme and planned the Commission directly. A more user- organisation and the individuals within outcomes need to be clearly laid friendly way is to register for one of their it. However, it is crucial that you avoid down with realistic deadlines, regular information days – usually in the various pitfalls in order to ensure • your evaluation, dissemination and Brussels. You can also get really helpful that your experience is a positive one: sustainability strategies must be advice from the UK national agency • make sure you are clear that the aims clearly identified from the start. www.erasmusplus.org.uk, which also of the funding programme meet the arranges regular briefing sessions. intended objectives of your project. An additional advantage of these Once approved the proposal is the sessions is the opportunity for ‘bible’ by which the eligibility of your networking with other organisations activities is assessed, working in similar areas. • most of the problems with partners Another potential funding source for arise through lack of understanding culture is the Structural Funds, which of the financial demands. Make sure Alan Clarke supports the economic benefits of you have a strong finance manager e [email protected]
Alan Clarke is an international East Berlin. On returning to initiatives, half as coordinator, training courses for artists to consultant and European England he gained a PGCE and currently runs two prison work in European prisons. He project coordinator, currently at Goldsmiths College and arts projects for TCOT: the has devised and performed for The College of Teachers lectured in performing PriMedia Network, promoting drama pieces on Shakespeare (TCOT). He trained and worked arts in further and higher ICT and multimedia in and the plight of the prisoner as an actor, before completing education for 25 years. He offender learning, and in over a dozen European a doctorate in theatre at has participated in around CredAbility, developing countries. the Humboldt University in 20 European arts education internationally accredited
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AMA_JAM54_V2.indd 15 09/04/2014 17:06 The serious business of circus Craig Gamble Pugh explores how Circus schools are uniting to develop a culture of Circus and a culture of fundraising
s I pressed ‘submit’ on Greentop’s application part to play in encouraging philanthropic giving. for continued Arts Council England (ACE) In terms of million-dollar-success-stories Greentop, National Portfolio Organisation (NPO) funding, too, has hit the jackpot, having secured over $2.5m I had one of those moments where it felt in in-kind donations of advertising and IT systems. like my whole life flashed before my eyes. An The schemes, offering licenses for our new Customer increasinglyA large and complex part of my life has become Relationship Management (CRM) software and a the challenge of fundraising and income generation. phenomenal pay-per-click advertising credit worth up to Greentop Circus is the principle centre for Circus arts in $40,000 dollars a month were competitive to join, and the north of England, with a Circus school in Sheffield, and have stringent entry criteria. We have discovered that we’ve worked hard to augment our northern perspective pay-per-click and CRM are both technically challenging, on fundraising by working with partners nationally. and without significant additional capacity we’re unlikely The Circus Training Action Group (CTAG) is a national to be able to wring the maximum benefit from these partnership between Greentop in the north, Circomedia in donated resources. It’s clear that developing overall the south west, and the London-based National Centre for capacity is crucial to maximising funding and income Circus Arts. CTAG takes forward our shared commitment generating opportunities. to developing a strong Circus Arts sector and encouraging The second round of ACE Catalyst focused on a culture of Circus in the UK. In the regular meetings of the Fundraising Capacity, so, inspired by the successes of our Chief Executives of the schools over the five years since we London ally, Greentop led on a consortium bid alongside formed the partnership, fundraising has been a constant Circomedia and aerial theatre company Upswing. The bid source of discussion. was unsuccessful but setting aside the time to produce the Together we’re learning how alongside that shared requisite plans and stratagems helped focus our thoughts vision to create a culture of Circus in the UK, there is also and actions. Key lessons learned were the need to embed a need to develop the culture of our organisations. We’re a broad spectrum of income sources and to develop grappling with the need to shed the snobbery that Circus capacity and skills at every level of the companies. is somehow inferior to other artforms while still harnessing Since then, Circomedia have been making changes to the unparalleled appeal of Circus as something outside help develop their own capacity and sustainability, which the mainstream. We’re developing the broadest case for have included the appointment of a Business Manager, and support, from grass roots community giving to high net the announcement last year that the Bristol-based centre worth donors, taking in Social Enterprise and major in-kind had been selected to host one of the Arts Fundraising corporate donations along the way. & Philanthropy fellowships www.artsfundraising.org.uk/ Each of the three CTAG schools has explored differing south-west-fellows/. Fellow Miriam Battye will work with approaches to fundraising and diversification of income, Circomedia to explore how to embed the Programme’s and we’ve all benefitted from sharing and learning from aims, which straddle the development of individual giving one another’s successes and setbacks. and the development of income generation. The National Centre for Circus Arts, formerly Circus Income generation makes up a high proportion of Space, was awarded an ACE Catalyst Arts: capacity building Greentop’s turnover, between 50% and 70%, and we have and match funding grant which has helped them to secure been establishing a subsidiary company to generate a number of donations, including a $1 million pledge from income via corporate performance commissions and philanthropist Aileen Getty. other services including Circus team building and Circus Crucially, the fund has enabled Joint Chief Executives workshops for schools and youth groups. This trading arm Kate White and Jane Rice Bowen to lead a significant shift will build on the work we have done in providing these in the organisational culture around fundraising – with services since becoming a pioneering Yorkshire example everyone in the organisation being aware that they have a of the Social Enterprise in 2001, six years after Greentop,
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AMA_JAM54_V2.indd 16 09/04/2014 17:06 3825 Sharp Cat Advert apr2t&b2 .pdf 1 18/03/2014 19:21
> CASE STUDY
Images: James Gilbert; Greentop Cabaret; Zombie Trapeze by ©James Clark Photography
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Craig Gamble Pugh Y Chief Executive of Greentop Circus CM
e [email protected] MY t 0114 2448828 w www.greentop.org CY CMY
K which is itself a registered charity, was born. The aim over the next three years is to develop an independent brand for the company and for it to become the UK’s foremost provider of these services and a leading national Social Enterprise. We’re confident that by growing this social enterprise division, the income raised will subsidise Greentop’s core services by 2018. The extra activity will also help us increase the audience, and demand, for Circus. Greentop is already creating waves of interest in the approach, having been granted a prestigious School for Social Entrepreneurs Fellowship with an associated bursary from Lloyds Bank to help develop the enterprise. Also creating waves of interest has been the formal re- launch of Circus Space as the National Centre for Circus Arts in March this year. Mirrored in the north by Circus North, a Greentop initiative to develop Circus in the north of England, this is part of a CTAG-backed movement to fundamentally shift how Circus is perceived. While there is no reason that major philanthropic gifts should be the preserve of the ‘traditional’ artforms and institutions, these new brands will certainly help those within Circus and those weighing up the value of Circus arts see that Circus is coming of age. Just as we take it for granted that we need a National Theatre, National Ballet or English National Opera, a Northern Ballet or an Opera North so we need a National Centre for Circus Arts and Circus North. The strategy to ensure Circus is seen as a serious business, worthy of serious support, cannot detract from the fact that Circus is a fantastically fun and engaging artform. With this in mind, at Greentop, we’re preparing for a resurgence of old-school grass roots fundraising, with a fundraising team of Youth Circus members and supporters primed and ready to get out on a fundraising blitz ranging from sponsored stilt walking to supermarket bag-packing – our roots in community and participatory arts equip us well. As Greentop looks ahead to its 20th anniversary next year, the foundations of diverse income which BOOK NOW we’ve been laying will be the key to the long-term growth and success of ourselves, our national partners and the www.a-m-a.co.uk/AMAconference2014 sector as a whole.
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AMA_JAM54_V2.indd 17 09/04/2014 17:06 The everyman philanthropist Caroline McCormick explores extremely fortunate in the clients I’ve worked with and I am now advising on my tenth capital campaign, having worked taking philanthropy further than with organisations as prestigious and diverse as the Old Vic, Garsington Opera, DanceEast and the creation of a new cash gift giving National Centre for Writing in Norwich. And my ever growing list of pro bono clients which includes the Gate, the Yard y most people’s standards I’m a terrible business and the Mosaic Rooms, means that my philosophy seems woman. I’ve just taken on a project that will take increasingly relevant in challenging economic times when one day a week of my time and will definitely we all need to be ever more creative about how to go on lose me money. What’s more, I gave more than generating more income. £50,000 to charity last year and won’t be getting Preferring to help charities directly through my pro aB penny of tax rebate on the gifts I made. I’ve made these bono support, I rarely speak at conferences, but when choices because I consider myself a philanthropist and I was asked to be a keynote speaker on the subject of a while I’m not wealthy, what I can give as a self-employed holistic approach to philanthropy at the inaugural Spektrix person is time and like many people in this country, conference recently, I was pleased to do so, knowing that’s how I make the majority of my donations to the that they champion institutions which often find it more charities I support. As a fundraiser and former charity challenging to attract financial support. As I listened to the Chief Executive, I know that cash gifts are critical, but excellent speakers from other disciplines, I noted each in I’m conscious that they aren’t the only way of being turn saying that in order to be successful, their area needed philanthropic, and right now encouraging other ways of to be at the heart of the organisation and I reflected on becoming involved in cultural charities is key to growing the challenge for cultural bodies in building a staff in which our relatively limited arts voluntary giving base. each is cognisant of the workings of the organisation as The definition of a philanthropist is ‘someone who a whole. But it also gave me further pause for thought; engages in philanthropy; that is, someone who donates are we still treating cultural organisations in the abstract, his or her time, money, and/or reputation to charitable as self-contained systems outside of society, thinking causes’. I’m simply unusual in my approach in that I send the primarily of what benefits us and overlooking the broader charities to which I donate my time a pro bono invoice, so social context our donors operate within? Does that mean that they can quantify the value of my gift. By putting my we are missing opportunities to engage a wider donor base donation through their accounts, the charity not only places in our work? a real value on the gift, they are also able to demonstrate a The dichotomous tension between art and engagement growing income base and attract other supporters. that has raged in the arts for more than ten years, while In a world where major corporations seek to pay as little clearly driven by pressure on funding, has always seemed tax as they can, the philosophy I established when I became something of a fallacy to me. Art is always it’s own priority fully self-employed four years ago of running my two and end; but art that doesn’t engage with society is rarely consultancy companies three days a week, writing for and of quality, so in order to produce great art we need to running the theatre company I’m part of; Riotous Company participate in life. one day a week, and giving one day a week of my time My first formal job in the arts almost 20 years ago was away, may seem a little quaint, but I wanted to give back to as Head of Trust Fundraising at the National Theatre the sector which I’m passionate about and which sustains (NT). When I arrived at the NT all those years ago, I was me. As a Strategy and Fundraising consultant I’ve been saddened to learn that some staff had decided not to
The aim of this brief, bright experiment is to create a cultural centre curated not by me, but by the community
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AMA_JAM54_V2.indd 18 09/04/2014 17:06 > FEATURE Photo: © Freund Photography Fiona
speak to me and my fellow newly-recruited colleagues court, with room for offices for community groups, as well – fundraisers were a necessary evil, to be tolerated and as a former walk-in freezer of black box size, has quickly not indulged. It was with wry amusement that I noted been converted with limited funds and the energy of many the warm welcome I received when I returned a couple volunteers, into a space I can offer to eminent cultural of years ago to work on the strategy for the NT Future organisations and community groups alike, for a fee that Campaign. Fundraising was now truly part of the institution. simply covers the cost of utilities. The aim of this brief, I’m very proud of the donor base we established at the bright experiment is to create a cultural centre curated not NT and while the income from that sector has doubled by me, but by the community. By taking away the barriers in the years since I left, I always look in the back of the of finance and establishing a link to a hard-to-reach area, programme whenever I attend a show to see which names suddenly many things become possible and projects have been added to the list of donors and it’s shocking to from organisations as eclectic as English National Opera me that in the income area of trusts and foundations, the (ENO), the Old Vic, Mono Box, Corali and Figs in Wigs are list has barely changed. being explored. One of the wonderful things that’s already Membership schemes along with the quality of the cultural happened is that I’ve discovered what so many people I offer and enhanced public engagement programmes, know in one capacity, also do with their lives, as they tell have of course transformed individual giving in recent me about projects they work on privately and I realise that years, but the committed on-going philanthropy of trusts I’m surrounded by philanthropists, people giving their time and foundations remains slow to grow. Many of us puzzle to the things they feel passionately about. over how we can enhance philanthropy in this country But let’s be frank, this is always philanthropy and not and address the continuing challenge of developing a altruism, at least not in its purest sense. All of us undertake broader understanding of the arts as charitable and worthy these projects because it’s what we want to do; there is of support. I’m pleased that my fundraising consultancy always a reward, even if it’s just that warm feeling inside. company, Achates Philanthropy, will be working with BOP For me, there are many motivations for taking on Brixton consulting on the review of Arts Council England’s Catalyst No 6, not least among them is knowing that I’m going to programme, because I believe this is a challenge we urgently learn a great deal from this project; is there a possibility need to face. Donor schemes are undoubtedly important to replicate this kind of project through a wider empty but it seems to me that a focus on economic efficiency space programme where landlords could have formal alone means that we sometimes overlook the opportunity recognition of in-kind support? Could there be a scheme to engage people in other ways and to encourage more to establish community liaison points so that cultural people into giving. Volunteering and pro bono working organisations can more easily work in hard-to-reach areas? are gateway drugs to philanthropy and in a sector that is What does it mean for an emerging artist to have the commonly misunderstood in terms of its charitable role, I’m community as a patron, how will that change their practice keen to explore how we can bridge that gap. and development? I am sure that there are many more This is why I’ve taken on Brixton No 6; a former meals- questions I haven’t even thought of yet and I’m looking on-wheels kitchen on Somerleyton Road in Brixton, as a forward to finding out what they are and to developing my temporary cultural centre for the next 18 months under understanding of how we can perhaps become not just a the guise of my cultural projects company; Rien Qui nation of volunteers, but of philanthropists. Bouge Ltd. Brixton No 6 is a ‘Meanwhile’ project within the redevelopment of Somerleyton Road, the largest community-led development in the UK. This inspirational development, is led by Lambeth Council, in partnership with the community group Brixton Green (a Cabinet Office community-share pilot) and Ovalhouse theatre, who will relocate to the site. Caroline McCormick A light, bright rehearsal room space, the size of a tennis e [email protected]
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AMA_JAM54_V2.indd 19 09/04/2014 17:06 Giving is good for you
John Nickson considers if the arts and cultural sector is doing a good job of asking
arketing people and vision, informing both marketing and my conclusion is that fundraising is fundraisers should fundraising, did best of all. not yet fulfilling its potential and the always walk hand in Could we do better? The answer must remedy has implications for all charity hand. We are more be; ‘yes’. I was forced to confront reality managers and their trustees. The arts effective when we when I wrote Giving Is Good for You and cultural sector have performed Mdo. I learned this lesson during more last year. My book is about fundraising particularly well but, according to than twenty years as a director of but has a message for all in marketing. those who give, performance is patchy fundraising and I need not explain why I have written a polemic in praise of and the verdict is ‘could do better’. to this readership. The arts have done philanthropy and my primary purpose is I interviewed almost 80 donors, phenomenally well in generating new to persuade those who are not giving to charity and public sector leaders and income because they have had to. I follow the generous example of those fundraisers in various parts of the was responsible for fundraising at The who do. After publication, it became country. Everyone I met told me that British Council, English National Opera, clear that the book has another purpose: giving had transformed their lives, The Royal Academy of Arts and Tate to reveal what motivates those who whether they were funding a refuge from 1987 to 2011 and during this time give, what would motivate them to give and re-education centre for sex central and local government grants more and their attitudes to those who workers in Newcastle, or research into fell from around 80% of budget to less ask for money. poverty with positive outcomes for than 30% in some cases. The shortfall I hope that Giving Is Good for You slum dwellers in Bangladesh and the has been made up by a combination may help all who are responsible rural poor in Zimbabwe. of fundraising, increased admissions for generating income because we I learned how people become and new commercial enterprises. We know that success is dependent upon homeless in Britain, how music can proudly demonstrate real return understanding our public. On the basis helped Manchester become one on investment. Those of us who had a of the interviews I conducted with of the wealthiest cities in Europe clear and well-articulated mission and donors in various parts of the UK, and has transformed the academic
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Between 1987 and 2011 central and local government grants fell from around 80% of budget to less than 30% in some cases.
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N D N performance of primary school D children in Brixton. I learned how philanthropy is helping to save the lives of those with cancer who need 1987 ...... 2011 oral and maxillofacial surgery and how the death of a young woman in Afghanistan prompted her parents concerned that a more widespread in governance and the ability of to support those who suffer most in lack of a sense of obligation to the executive to deliver and that war: women and children. Everyone others may become a threat to the they are convinced they are adding I spoke to, whether they were giving civil society so many of us take for value. How will they know? By or receiving, spoke to me with great granted. Together, we produced being acknowledged and thanked feeling and conviction. Decisions a manifesto for change and the in a meaningful and sophisticated about giving are deeply rooted in the need to create a culture of giving manner. This requires a commitment emotions of those who give and this and gratitude in Britain. We have by everyone, not least by trustees has profound implications for those us recommended measures ranging who must all be seen to be giving, who are seeking their support. from changes to tax relief, national however little. We need some context. According honours and education. I asked a donor friend for her to the National Council for Voluntary What are the specific lessons to views after attending a recent Organisations (NCVO) and the be learned by the arts? Some have museum and galleries conference. Charities Aid Foundation (CAF) in been infuriated by Maria Miller, She told me: ‘Despite honourable 2013, charitable giving is declining in Secretary of State for Culture, Media exceptions, the arts need to the UK while inequality is growing. and Sport, who has said the arts make a much better case, both There has been a colossal increase should get better at asking. She individually and collectively, they are in the wealth of the top 1% and their has a point. Despite conspicuous too defeatist and defensive, their share of national wealth in the past 30 fundraising success, our case for trustees don’t have a clue, they years. Only a minority of the wealthy supporting the arts is not strong aren’t willing to invest and they is giving. Coutts bank estimates 10% enough. We fear competition with don’t take a long-term view about of those selling their businesses are welfare charities. How can culture developing relationships’. philanthropic. This matters as we now compete with cancer research? Public spending will continue to fall have international evidence proving Perfectly well if we are more robust whoever wins the next election. The how damaging and destabilising about saying that life is not worth state is in retreat, the voluntary sector inequality can be in terms of health, living without culture. faces growing demand and there will violent crime and governance. Donors are clear that they will be increasing competition for both Those who give are the fiercest give and give more only if they feel discretionary spending and charitable critics of those who do not. Some engaged with a cause, that they giving. The arts need to think hard were so outspoken that their are inspired by a mission and vision about how they position themselves comments had to be censored. that is articulated by everyone in as a deserving cause whether they They are acutely aware of their the executive team and on the are pitching for public, corporate or responsibility to society and board, that they have confidence private money.
John Nickson is one of Britain’s most experienced fundraisers. He is the author of Giving Is Good for You: Why Britain Should Be Bothered and Give More. (www.bitebackpublishing.com)
He is donating his royalties to the Royal College of Music Scholarship Fund and to MQ: transforming mental health (formerly known as Insight). He blogs regularly for The Huffington Post UK and is on Twitter @johndnickson.
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AMA_JAM54_V2.indd 21 09/04/2014 17:06 > JUST A MINUTE
60 ( Just a minute Get to know other AMA members in just six questions
What is your first memory of the arts? When and why did you join the AMA? 10 My first memory of the arts was a visit to 40 When I started at Aspex in 2012, our Director, the beautiful Frank Matcham designed Kings Joanne Bushnell, got me to sign up straight Theatre in Southsea when I was four years away. I successfully applied for a bursary for AMA old. Slightly embarrassingly it wasn’t to see anything conference 2012 in Brighton, which was excellent for particularly highbrow but to see Timmy Mallett on tour! It somebody not originally from an arts background, with so is great to see the theatre still prospering today, alongside many workshops and colleagues to talk to from across the the New Theatre Royal in the city centre, which is country. Since then I have also attended a number of the undergoing a massive refurbishment. I now enjoy spotting workshops offered by the AMA which have really helped pantomime stars in the stage door pub of The Kings, which with my professional development. coincidentally is now my local. What is your proudest moment? How did you get into arts marketing? Well, apart from being interviewed for JAM (of 20 Well, I’d love to say it was planned – but it 50 course), one of my biggest achievements since certainly wasn’t. I spent my twenties going being at Aspex was getting the sports reporter through a few different careers after a false start at from BBC Breakfast; Mike Bushell, to come university including retail, IT and even being a self-employed down and play in our Wrong Pong ping pong exhibition. gardener. I eventually decided to go back to university here The feature was then shown nationally on BBC One, in Portsmouth to complete a degree in Politics. I graduated internationally on BBC World and featured on the BBC in 2011 and after an internship in the Public Affairs Team at Website. It generated some great visitor figures last summer WWF, saw the position at Aspex and haven’t looked back and a massive spike in traffic to our website. This is closely since. followed by running a successful campaign to retain our local authority funding late last year. What attracted you to the arts sector? Personally? Well, it’s got to be marrying my wife in 2011, 30 As a life-long resident of the city of Portsmouth, who I’ve been together with since 17 years old. I’ve always been passionate about what the city has to offer culturally, encouraging people to visit And what is your greatest indulgence? and also changing some people’s perceptions of the area. 60 In recent years I’ve become a bit of an ale fan, The role at Aspex allows me now to channel this passion and have a developed a taste for hoppy beers. through the organisation, using it as a catalyst to tell the This is to the point that I’ve become a bit obsessed world about not only the great exhibitions and events we to find the most ridiculously hopped ale I can find – I have here, but across Portsmouth at different venues. I recently settled on a 9.5% Mikkeller/Brewdog I Hardcore regularly share events on our social media channels from You which has managed to slake my thirst. Not an ale to be all sorts of different places, from the Historic Dockyard messed with mind! through to other contemporary art galleries in the city. I also enjoy the variety of work at Aspex, our frequently changing exhibitions means there is always something new going on in one part of the building. Gareth Colwell Finally, I also get to use my advocacy skills from my Politics Communications and Audience Development degree regularly. Examples would be persuading potential Manager, aspex donors and encouraging the local authority to continue to e [email protected] support the organisation. w www.aspex.org.uk
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AMA_JAM54_V2.indd 22 09/04/2014 17:06 resources for performing arts professionals
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AMA_JAM54_V2.indd 23 09/04/2014 17:06 TARGET LIVE A BOUTIQUE AGENCY ACROSS THE ARTS Target Live and the Visual Arts
One of the key sectors for Target Live is the Visual Arts marketplace, and we are very well placed to offer marketing and media services within this field. Our media planning tools (such as TGI) allow us to analyse the specific audiences for any particular venue and exhibition, looking at their day to day habits, their regionality, their demographic breakdown, and of course, their media consumption. This insight, coupled with our own in-house knowledge of the sector, ensures that we can bring focused and strategic thought to the media plan, making each budget work that little bit harder.
Recent, current and upcoming Visual Arts work include:
Barbican - Pop Art Barbican - Jean-Paul Gaultier Barbican - Digital Revolution Somerset House - Isabella Blow Somerset House - Pick Me Up The Hospital Club - James Bond Posters The Hospital Club - Kabuki (photos by Frederic Aranda) The Hospital Club - Hear My Train A’ Comin’ (Jimi Hendrix memorabilia) Leeds City General - Leeds Canvas Polska In Edinburgh - Robert Kusmirowski’s site specific installation ‘Pain Thing’
Visit out website to find out more target-live.co.uk
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