Fundraising Toolkit

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INTRODUCTION

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

Together, these resources aim to contribute to the development of sustainable arts organisations and arts practice on the continent. By build ing capacity in organisations to collaborate, raise funds and market themselves, the toolkits will empower practitioners and organisations with relevant knowledge, contributed by arts practitioners themselves. These kits aim to contribute to this on-going process of building capacity by offering Information and case study examples drawn from contemporary African situations.

Despite the diversity of political, economic and social contexts, there are many common challenges facing African cultural practitioners, to which varied solutions have been found. These toolkits offer some of these solutions In the spirit of sharing lessons learned and techniques successfully practiced.

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

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

Critical to the fundralsing process is the allocation of sufficient t ime and energy to the preparation and research for completing your fundralsing proposal. Adequate preparation Is the key to success. The topics In this toolkit will guide you through this preparation.

The Arts Advocacy and Networking Toolkit provides information about what networking, advocacy and lobbying for the arts is actually a ll about with examples of how collaboration can positively and professionally draw attention to those Issues that concern artists and cultural workers. Information on how to structure a network and develop a campaign of action Is supported with examples and tips for efficient p lanning and implementation. Samples of a constitution, a formal letter, a petition and a budget and action p lan for launching a campaign are also provided. Considerations about sustaining the network Include Issues of financial management as well as marketing and fundralsing.

The Arts Marketing Toolkit explores different ways of building and retaining public identity for Individual artists and arts organisations. Arts marketing Is concerned with diverse and selective communication activities that link projects, products, services and arts organisations with new markets, while

maintaining relationships with established customers. Constructing a sustainable arts livelihood is about thoughtful perceptions of power relations In economic contexts, and being able to Implement choices In these environments - choices that live out sustainable arts practices and that feed financial, Individual life purpose and community goals. Case studies from various countries In Africa and different arts sectors are used to embed this marketing philosophy Into practical examples. Worksheets have been developed to encourage readers to participate and reflect on the toolkit Information with evidence from their own precise contexts.

The Arts Fundraising Toolkit, The Arts Advocacy and Networking Toolkit and The Arts Marketing Toolkit are Interconnected threads of the same cloth. Marketing today Is often referred to as communication; networking is the essence of communication practice and fundraislng is successful because of clear and purposeful Identity building for all partners concerned.

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

Do you need this toolkit?

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

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

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

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Once you have clarity as to where your Idea/ project or event fa lls in this continuum, you will be in a better position to choose your 'buyer' (the Funder). There are many kinds of funders and most of them focus on one aspect of this arts continuum.

You can match your fundraislng efforts to the stated objectives of donors In a way that at least gets you a foot into the door.

The Arts Continuum and Types of Funders

Art for personal catharsis, human development and for Its own sake

Public funding agencies like national arts counc ils Private sector companies

(their marketing departments) Individual arts patrons

Foreign embassies or cultural institutions e.g. Brttish Council. French Institute. Goethe Institute

International arts/corporate foundations A

Art for social development

Notional Government departments like Health. Welfare. Environment. etc. keen

on communicating particular messages

Provinc ial/regional and local government agencies

International/local development agencies Private sector companies (their Corporate

Social Investment departments) Educational institutions

Art for economic development International development/aid agencies engaged In

culture and development" International cultural agenc ies engaged in cultural diversity

e.g. UNESCO and Its Fund for Cultural Diversity ForeQ'l govemments providing aid to cOLntries in the globd south Private sector companies aligned to the c reative sector

National provincial and local Govemment departments e.g . tourism. economic development

International creative enterprises seeking partners in Africa Micro-finance institutions

2 - ARTS FUNDRAISING TOOLKIT

Financial institutions established to promote micro-entrepreneurs

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

1.3. The Art Fundraising Toolkit Sections

This Art Fundraising Toolkit takes you and your organisation through the entire process

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

,--~-- Case Stud~ '--__. The Establishment of ARTerial Network

ARTerial Network was established as a result of a conference on Goree Island in 2007, dUring which factors inhibiting the cultural development of the continent were debated and identified by a group of cultural operators and concerned funders. The resulting conference report offered an analysis of the Situation as well as suggestions for ways to positively address the major themes of economic sustainability, arts management and capacity building, co-operation and exchange, and lobbying and organisational building.

A task team was elected to devise a programme of interventions and launch a network that would drive these activities. These preparatory activities were initially funded by a collaboration of supporters including Hivos, the Danish Centre for Culture and Development, the Str0mme Foundation, Stichtung Doen and the Prins Claus Fond.

The network was housed first by the Africa Centre in Cape Town, South Africa with a small secretariat and eventually was taken under the wing of the African Arts Institute in 2008. A jOint-funding partnership between Hivos and the African Arts Institute secured substantial funding from the European Union to more fully develop a cohesive programme of activities to be undertaken across Africa.

ARTS FUNDRAISING TOOLKIT- 3

The second meeting of the network tool::. ptace irl 200'}, at which a constitution was Gldapted that formalised the network and allowed for the electiOn of a governing bod!:j (The Steering Committee) drawn from members and the appOintment of a secretariat that would undertake the da!:j-to-da~ tasks of running the network and implementing projects and activities towards achieving the variOUS goats identifted b~ the constituency.

The Vision of ARTerial Network iS "of a vibrant, d~amic and sustainable African creative civil societ~ sector engaged in qualitative practice in the arts in their own right, as well as in a manner that contributes to development, to human rights at"ld democrac~. Gll'ld to the eradicatiOn of povert~ on the African continent."

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

To build OJ./or further develap effective, sustGiinGib!e not:i

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One of ART enol's specific objectives is to bu~d o strOt'lg network of notionoll~ ond regtonoll~ operoting culturot orgonisotiOnS in Afriw oble ond copabte to promote cutturol polic~ development, reolisotion ond exchonge of culturol productions within Africa ond between Africo ond Europe. This wo.s identified o.s o. result of their environmentol

onol~sis which reveoled cleorty thot there ore few diScipline-bosed or multi-diSciplinor~ ortist unions. networks or ossociotions in Africo thot could lobby on behotf of ortists, serve os conduits for informotion. link ortists in Afriw to their counterports in Europe ond elsewhere ond serve os networks between culturol octors ot o notionol, regionol ond continento( level.

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

The mojor benefits of hovit'\g these kinds of fur1ctionol r1etworks will be thot ortists in those countries will hove o notiOI'\Ol bOdy to represent their ir1terests. Governments will hove represer1totive civil society structures to engoge orour1d issues of polic~. The 11'\ternotionol commur1ity will hove legitimate, representative bOdies to lioise with Md work through.

By hoving bodies to tobb~ on beholf of o.rtists. cultural polic~ con be deviSed, omended, implemented and will then hove brOOder benefits for ortists ond for the public ot Iorge. Trained leadership from within avn societ~ will provide training to others ond so build wtder leaderShf>. Ova societ~ leaders mo~ eventuolly be recruited tnto government where

the~ could pto~ o wider, inftuentiol rOle. thus necessitoting this ~on-Site" civil societ~ tro.intng of new la~ers of leadership.

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


AR. T erial Network iS therefore a uni

2. UNDERSTANDING THE ARTS FUNDRAISING CONTEXT

2. 1. International Trends in Arts Fundraising

Arts fundralslng Is a fluid process that changes over time and Is deeply Influenced by the socio-economic context and what Is happening In the arts sector. Arts organisations and artists need to keep themselves informed of the changes that are occurring In the fundralslng landscape to maximise their funding opportunities.

A number of trends have been highlighted by the Funding Diversification Pilot report of the Charities Information Bureau (2006) which has a bearing on arts organisations In Africa.

First Is the Importance of having multiple funding streams from a range of different sources. Increasingly organisations recognise the need to lessen their dependence on donors and their grants by developing a mix of funding options. Included In this, for Instance, Is income generating activities such as charging fees for work or hiring out spaces.

Second Is the move from being good at "doing" to becoming good at "getting it


done". This move, from doing to managing, requires arts organisations to develop stronger management and leadership skills and capacity.

Third Is to focus on market trends; so that in reality we find a shift In doing good works to doing good business. While this Is clearly not a problem for creative businesses that operate on commercial lines, this is a real challenge for arts organisations working In communities or reliant on funding. Arts organisations are increasingly being asked to look at market needs above community needs which may change the understanding of who the 'customer' Is.

Fourth is the fact that government procurement spend can be used to ensure more benefits to funded organisations. Just as In South Africa where black-owned businesses that are well managed and have good governance are privileged In government procurement, so arts organisations that can deliver some of the sociaL economic and environmental services that government requires can access resources in this way and so be part of this important funding pipeline.

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Tip ... What arts organisations need to do r- X1 L

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

The view from ART erial Network members in Africa shows that there are a number of trends that are specific to the continent=

Most goverrvnents are not~ arts organiSGitiOnS or projects other than for natiOroGII heritage. lnterV\GitiOV\GII donors based in countries can be quite specific about the outcomes required for arts projects. inSiSting that there iS a link to socio-economic needs such as education. HIV/AidS, health matters and domestic violence. In other words, the funding iS largely linked to the instrumentaliSGition of the arts for some sociall~ worthy end. There iS alack of fundrGiiSing abilit!j. competence and knowledge in arts organisations. There are few if any resources (fit'\Gincial. expertise, databases) to assist arts organisations in fundrGiiSing.

The necessary consequences of these trends are that arts organisations will have to be more creative when it comes to raising funds, be a great deal more professional in the manG~gement Glnd implementatiOn of grant projects Glnd ensure that Gldequate fundro.ising Glnd arts fr\GinG~gement competencies are developed in their organisations.

2.2. Impact of the Global Economic Crisis on Fundraising

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

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


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

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

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

Level of Impact - Weighted Response 0 50 100 150 200 250 300

Arts heritage and culture ~ I I

International development

~ I I Animal welfare and rights

i I I Science and scientific research

~ I I The environment

~ I I Human rights

~ I I Elders/older people causes

~ I I Disability and d isability rights

~ I I Education

~ I I Health

~ I I Faith based causes

~ I I Medical research

~ I I International emergency relief

~ I I Children's causes

~ I I All o f the above

Source: =me Global Fundraising Confidence Survey Report 2008

The c ircumstance of arts organisations and particularly community arts practices and cultural development in Europe are quite different from that in Africa since they have, to a large extent become integrated into public provision. It is not unusual to find community arts workers employed by local

1 0 - ARTS FUNDRAISING TOOLKIT

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

established organisations with long term projects are quite different then to the arts organisations and projects found on the African continent.

The global recession has already led to a decline in revenue from trusts and foundations by UK arts organisations with many organisations reporting in unpublished Arts Council England research that a greater effort was needed to maintain revenue streams. In the UK for example, 19 million was cut from the Arts Council of England's budget, and core arts institutions such as the Royal Opera House and the Royal Shakespeare Company have also had millions of pounds cut from their annual allocations (WSWS, 201 0). In 2009, research amongst large funding agencies published in Grantmakers in the Arts showed that across the board, funders are (Lawrence, 2009):

Instituting budget cuts across all programmes over multi-year planning horizons.

Redistributing budget cuts over multi-year funding commitments to try and lessen the Impact on arts organisations.

Honouring existing obligations and cutting down on new projects.

Completely rethinking and even discontinuing programmes.

The research further interrogated the characteristics of arts organisations that were adapting to the changed circumstances. Some of the core attributes of these organisations are:

Courageous leadership that is not afraid to question, change and reshape arts organisations and programmes.

Clear focus on core mission, vision, values and objectives.

Strong and clear mutual relationships with and commitment to beneficiary and or target communities.

Strategic thinking and ability to forecast changes and respond flexibility and nimbly to these.

In other areas of the developed world there is evidence of arts practitioners desperately holding onto gains made In previous decades against the threat of conservative cultural policy such as in Australia while in other areas it depends on both the significance of sponsorship and philanthropy versus public funding and sales and ticketing. Clearly the country specific nature of government funding will also Influence the extent of the impact on arts organisations.

IFACCA research conducted In 2009 suggests that the arts sector is not sure what the Impact of the global recession will be due to both its strengths and its weaknesses (Madden, 2009:8).


Case Stud~ Strengths and Weaknesses of the Arts Sector

STRENGTHS

The~ are accustomed to working with limited budgets and are thus resilient during economic downturns

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

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

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

WEAkNESSES

Countr~ Md region specifiC iSsues such as a weak tradition of arts Sponsorship

Exposure to government funding

Lack of adequate reserves in arts or geln.SGitiOr\s

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

Reduction in trade

ReliMce on endowments thelt helve lost vellue

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

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


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

Internet Fundraising: Internet fundralslng Is contributing an Increasing percentage of the overall funding raised by non-profit groups In countries such as North America and Europe. In Africa, examples are few but It Is clear that exposure on Facebook Is beginning to open up this possibility. The fast changing digital world presents opportunities to arts organisations willing to embrace and maximise Its opportunities www.ngoplus.org/taxonomy /ter I 12?page=3

Community support I in kind assistance: from the community that will benefit from the project (the beneficiaries) as well as for in-kind assistance for work spaces, rehearsal spaces, food, equipment or transport. See the textbox on the Importance of volunteers In fund raising. It Is Important to remember that support can take many forms other than money!

Approaching grant makers: this Is focus of this toolkit where projects are packaged In clear proposals by organisations (NGO's, NPO's) or enterprises and grant makers or donors are asked to fund that project.

Corporate (commercial company) sponsors: In each country there may be commercial companies that see the Importance of supporting the arts or believe that their association with the arts w ill be good for business.

This toolkit focuses on grant makers and corporate sponsors.


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Advice ... The Importance of Volunteers

THE IMPoRTANCE OF VOLUNTEERS IN FUNDRAISIN6

Most orgar'tisations do not have SL.Ifficient staff to run fundn)iSing wmpoigns or do effective marketing and need to conSider volunteers, i.e. unpaid staff. Volunteers are not onl~ a useful resource for fundraising, man~ organisations use volunteers to run basic office administration or for one-off events such as concerts. performances, competitions and awards when extra expertise or capacit~ iS needed.

WHAT DO VOLUNTEERS DO?

Volunteers CGit"' be involved in 1'\1()(\~ different aspects of the orgmsotiOrl from forming ~t of the t'nGit"'GGget"nent coomttee or be~ on the reference group to dOit'"lg ~ Gldmit"'StratiOrl in Glt"' office or for a fundraiSing shop/ s~. hosting fundrG\iSing events, ~ a c~. getting the S!AppO't of local businesses, dOit'lg street colectiOriS, selt'lg raffle tickets, ~

a...r~ big events Md t'I'\Git"'~ more. Volunteers could dO basic research priOr to a functraiSing effort SL.~Ch as find out wnat other orgtnsatiOriS the funders have supported Md the process of G\pflOCatiOriS Md reporting. The!:j could do desk research uSing the intemet or the telephone to asSist the organisation in some of the preparation work for a fW1dir1g appliwtiOn.

WHO VOLUNTEERS?

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

Llrlempto~ed ~outh wanting work experience. fir'ldrng meaning in their da~ or wdting to be active Mel acquire new skills.

HOW TO REcRUIT VOLUNTEERS?

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


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

recr~.o~it people with specific skills or people visiting f rom other cO\..Intries who wish to contribl..lte to the work that ~ do. There needs to a job description G\1'\d a decision abo..it

mane~. Vol~.o~nteers need to know ~.o~p front what their d~.o~ties are. what times the~ need to make available, who to liaise with d~.o~ring the work and what s~.o~ppart to expect. This

s~.o~pport co~.o~ld range from mentoring. dail~ meetings. to travel mane~ or l~.o~nch each da!f Appliwnts need to fill in a basic appliCGition form getting their contact details. skills. interests and reason for vol~.o~nteering.lf the organiSation has Sl..lfficient capacit~. the project manager for that project wo~.o~ld benefit from interviewing the vol~.o~nteer. It ma~ be necessar~ to check ~o~.o~r local labo~.o~r laws to see whether vol~.o~nteering affects available ~.o~nemplo~ment benefits. Unmet expectations can ca~.o~se fr~.o~stration between the vol~.o~nteer and the organisation and it iS best that these are clarified in the beginning. This co~.o~ld take the form of a contract between the organisation and the volunteer setting o~.o~t the terms and conditions of the agreement. The contract shOI..IId ciGirif~ the proced~.o~re if there iS a grievat'\Ce and also how to termrote the agreemet'lt.

HOW TO M.ANA6E VOLUNTEERS?

Vol~.o~nteers need to be managed in much the same wa~ as general empto~ees. Like interns. vol~.o~t'lteers can take ~.o~p preciOus time from the management team. need.ng guidCit'lCe in much that the~ do as the~ are t'lOt familiar with the orgat'lisation. An 1'\duct.on process would be

helpf~.o~l so that the~ trul~ ~.o~l'\derstand ~our organisation and ~o~.o~r projects. You co~.o~ld allocate them a member of staff to liaise with and to be their support at'ld g~.o~ide. The~ need to assist ~01..1 it'l yo~.o~r work not be a drain on ~o~.o~r time. Ask the followit'lg q~.o~estions: have I given them et'lo~.o~gh information abo~.o~t the project? Do they kt'low who to ask when

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

HOW TO SHOWCASE THE WORK OF THE VOLUNTEERS?

B~ showing a willingt'less to work with organisations. vol~.o~t'lteers are saying something very importat'lt GlbOI..It that organisation. abo..it its value it'l the camm~.o~t'lit~ and the enth~.o~Siasm for 1ts work. ThiS can be ~.o~sed to s~.o~pport a f~.o~l'\draising ~ieation. The marketing material G\1'\d the f~.o~l'\draising doc~.o~met'ltation c01..1ld list the ~'lUmber of vol~.o~t'lteers and the M)O..It'lt of tlfr\e the vd~.o~nteers have givet'l the organisatiOn. Y 01..1 CO\..IId disc~.o~ss how vd~.o~nteers enhance the services that the orgat'lisation offers. red\..lce costs. and assist in marketing Gll'\d in contribl..lting to the community in which ~r orgat'liSation works.


2.5. The Continuum of Funding: Small Grants to Large Grants and from Community Based to Commercially Based.

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

2.5.1. Small to Medium Grant Funding Mechanisms

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

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

Medium grants, from $20000 - $200000 (depending on the country this may be considered a large grant) are extremely valuable especially for collaborative projects In more than one location or In more than one country as the example below shows.

For example : Get $5000 for a marketing campaign, evaluate and give feedback and If successful, the organisation Is then eligible for the next level of funding, say, $1 0000. In this way the grant-maker Is a partner In the growth of the organisation and the organisation grows In an organic way, learning to be accountable to complete activities needed to do to achieve Its objectives. This Is a good mechanism for a small creative enterprise such as a craft enterprise, music recording studio, and film project or design group to develop Its fundralslng profile.


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ExC\mple ... Medium Grants

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

Seed financing could be considered for either profit-based organisations with a potential commercial idea (music recording, film production, craft export) or a new emergent organisation that does not yet qualify for financing according to set criteria (such as a new community-based theatre group).

Capital financing is potentially a small grant mechanism but for non-consumable items such as furniture, equipment (computers, production equipment public address systems, pottery wheel, musical or film equipment) and maintenance.

2.5.2. Large Grant Funding Mechanisms

Large grant funding mechanisms are typically grants from official agencies (i.e. government departments responsible for countries offic ial organisational development assistance and funding) such as the European Union, the UK Department for lntemational Development (DFID), Danish International Development Assistance (DANIDA) and the Swedish International Development Cooperation Agency (Sida)

18 - ARTS FUNDRAISING TOOLKrr

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

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

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

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

from an overall budget agreed by Parliament and then divided between the co-financed NGOs on a proportional basis. Recently a distinction has been made In the Netherlands between Institutional funding - through the partnership programme agreements and the Multi Annual Programme Scheme - as described here, and thematic funding to NGOs which offer specialised services and programmes (through Theme Based Co-financing, TMF).

Long term contractual funding usually falls under this category of Large Grant Funding mechanisms and is useful for established organisations with 3-5 year programmes and which potentially fit Into the medium-term expenditure framework of either government or funders. While these mechanisms may not always apply to African NGOs from official agencies, It is important to understand how funding works internationally as this may impact on how it works for those funding partners working with you.

ARTS FUNDRAISING TOOLKIT - 19

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

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

FUNDING MECHANISMS

Large grar'lt hmdiY'Ig mechar1isms

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

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

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


DENMARk

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

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

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

For targeted develop.-Y~er'lt activities based Or'l progrMlr'l'leS Glr'ld thematic strategies. N60shave ai.AtOr'IOmy tO implemer'lt CICtivities.

FINLAND

Partr'lership Agreemer1ts

SI.Apport to it'\dividUal N60s

T er1 N60s, three-year rollir'lg FrCimework Agreemer1ts

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

IRELAND

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

Ov~ Society flAr'ld (CSF) lr'I-COUr'ltry Micro-Projects M.do+'ro jects Scheme

Other ir'ldividlAal flAr'lclir'lg schemes

Five N60s, three-year agreemer1ts

ProgrMlr'l'lGitic multi-ami.Aal flAr'ldS for overall programme

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TI-E 1\ETHERLANDS

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

Remainder prov,ded via project level funds

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

Orgar.satiOnal SUppOrt in the form of core funding

NORWAY

Framework Agreements

tnd1vid\..lal Agreements adminiStered through N60swith Framework Agreements

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

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

SWEDEN

Framework Agreements

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

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

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

UNITED I

2.6. Why do Donors want to Fund You?

This may sound like an obvious question but far too many people think It's because of the wonderful things they do.

WelL here's a big secret - it's not because of what you do, it's because your organisation or your project meets the needs and motivations of the donor. It's about the motives and needs of the donor.

That Is why It Is important to have a strategic

the funders, why they want to give money to projects, the more likely you are to be successful in your fundraislng efforts. If the funder Is already sympathetic to your cause, Its half the job done! It is so much more d ifficult (although NOT impossible) If you first need to convince the donor why your cause Is important.

"In good times and bad, we know that people g ive because you meet needs, not because you have needs." Kay Grace.

focus- the more you know what motivates www.fasttrackfundralslng.com

Figure 2: Why Donors Fund You

lndvlduals It makes me feel good

Foreign agency For recognition

I want something in return Peer pressure

I like you

To build a relationship To build a partnership It Is our foreign policy

I enjoy your work Because you asked me

It promotes interest and a positive Image of our country

To improve the economy

Corporales Improve the company image

Promote my interest For publicity

To avoid paying tax To stimulate sales and customer

retention I like your proposal

Foundations or trusts We have money to give Sympathy or empathy To bring about change

Matches our interest We are compelled to give It's a cause we believe in

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


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

~tAite o lot of ful'\diY'Ig from officio! ogeY'Icies is iY'IStrumeY'ItOI iY'I the seY'\Se thot the N60 iS expected to deliver OY'I a partiwlor sociol mal'\dote of OY'Ie sort or oY'\Other (reduCiY'Ig HIV 1 Aids, miY'Iimiz.iY'Ig domestic violeY'Ice, iY'IcreaSiY'19 commtAY'Iit~ participatiOY'I, empoweriY'Ig womeY'I OY'Id so OY'I).It iS Y'IOt surpriSiY'Ig therefore, thot officio! ogeY'Icies teY'Id to prefer to chOY'IY'Iel fuY'IdS to professiOY'Iol ruY'I N60s rather thtm direct!~ to sociol movemeY'ItS. The orts aY'Id wlture civil societ~ Y'letworks iY'I Africa Y'leed to guord ogoiY'ISt this t~pe of margiY'IalisatiOY'I OY'Id moiY'ItOiY'I both a health~ relotiOY'IShip with local N60s aY'Id also with the dOY'IOr commuY'Iit~. ART erial Network believes that a healthy civil societ~ iY'I the arts is vital to reiY'IforciY'Ig democroc!:l OY'I the cOY'ItiY'IeY'It as it octs as a deterreY'It to diCtotoriOI teY'IdeY'ICieS b!:J streY"~gthering social copitai!AY'Id iY'Icreasi"'9 the likelihOOd of pro-poor policies.

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

AfricaY'I bosed orts OY'Id culture orgonisations need to mointoin a heolth!:J indepel'\dence both from the poteY'Itiol domagiY'Ig depeY'IdeY'IC!:J that fuY'IdiY'Ig from Siflgle or multiple sources can creote aY'Id from Mtional governmeY'It.

One of the roles of the orts is to questioY'I society. ask difficult questiOY'Is al'\d reflect our reality ol'\d OtAr future in WO!:JS that makes us look at thil"'gS differer~ti!:J-

Some off,cial ogeY'ICies are questiooing whether ~strategic alliaY'ICes with some civ1t societ!:J groups would perhaps provide a more appropriate form of supportN rather thaY'I working through professiarol N60s (Pratt, Adams al'\d WarreY'I, 2006: 22). Th1s is pateY'Itioii!:J gOOd r~ews for the types of civn societ!:l r~etworks beiY'Ig established b!:J ART enal Network al'\d their r1eed to raise ful'\ds for their lobb!:Jil"'g aoo actvocac!:l work.


Figure 3: Who Funds the Arts in Africa?

2.7. Who Funds the Arts in Africa?

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


countries. However this is likely to change though as countries such as China are becoming more active in the economies of countries in Africa.

Funders associated with Arterial Network and its work and listed on its website include Africalia, the African Foundation for Development, Ago Khan Foundation, Arab Bank for Economic Development in Africa, Art Moves Africa, Canadian International

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

THE FUNDING OF CULTURE

The baseline scenario in terms of financing of the cultt.Are sector are characterised by the following: t The levet of Government func1t1g of key inStitutiOnS invOlved in regtA~ating and coordinating

actiVities in the culture sector cOI'\Strains pOlicy and strategy development and implementation iS low at project baseline.

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

:3. Protracted macroeconomic challenges in ZJmbabwe are redt.Acing profitability of private sector companies, thus reducing financial resources available for financing promotional activities.

4. Artists across SlAb-sectors generally lack technical skills in developing proposals to solicit flAnding. A Significant proportion of artists and art practitioners run their operations as leisure activities.

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

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


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Furldirlg needs one! nature of support varied across the sub-sectors. Across oil subsectors finarleirlg tr~intng for capacity bu~ding w~s identified ~s ~ mojor g~p. IY1 MditiOrl, the need to financi~lly capacitote v~rious institutions to function effectively and set up link~es for promoting production, pack~ging ~nct promotion ~s well ~s strengthentng support industries were identified ~s importont..

CHALLENGES RESULTING FROM LIMITED FINANCING

Ch~Uenges rel~ted to poor finMCing irl the culture sector were common across subsectors. They ir\Ciuded the following=

t

2.

3 .

4.

5.

L~ck of c~ity to purch~e moterials ~inputs for use in prOduct development, pack~irlg and marketing. Low c~,t~ to retoirl tr~d one! experienced stoff in arts establishments one~ support industries, leMtng to f~lling qu~lity st~nctards. lf\Mequ~te resource ~v~ilabt1it!::l to focilit~te ~woreness ~rld tr~tning progrof'M)eS Md monitor implemented projects. Limited funds to conduct me~ningful research that informs sector strategies ~nd policies and collection of data important for benchm~rking progress. Poor mointen~r\Ce of physic~! infr~structure which renders facilities unsuitable for use by practitioners thus reducing economic value.


Case Stud~ SWOT Analysis of Funding in Africa

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

STRENGTHS

There iS mone!:1 to fund arts (;W'ld culture in Africa. There are donors that StApp

OPPORTUNIT IES

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

THREATS

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

Spectfic thanks to the following ARTerial Network member contributors to this SWOT anal!::jSiS: ROdrigue Ahotondji (Benin). Maki Garba (Niger), Siafa !

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

Creative ir'\dustr~ plo~ers - entertoinment and art - in olmost oil Afriwn cOufltries Single out le~ck of fufldS as the major hurdle in their quest to promote ond suswin the industr!:j. The!:j

sa~ both govemments ond the private sector do not hove policies on the industr!::l ond neit her do the!:j consider it o priorit~

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

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

According to NI.Awo Wamala-Nn!jOnz.i, the choirman of the NotiOnal Arts Clt'ld Crofts Association of Ugot'ldo, M artist must make o cose for what he or she prOduces ot'ld its worthiness before a financiol iflStitutiOn con gront a loan. One hos to prove its potent.al at'ld relevance to a prospective investor or collector. "If I bought !:jOUr piece of ort tOdCI!j, will it gain value over o period of time?" Bonks therefore wont to know how the!j will recover their investments.

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

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

"Our prOducts ore visuol Clt'ld unique because you comet bu!j o painting ever!j day_ unless the!j ore gifts. The protaes of bu!jers of m!j works olso keep changing - it is not the some conSistent buyers. I om not able to track them ond tell their wonts; he SCI!jS.


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Stever~6otho!"'g0. head of credit at kCB Uganda Ltd, empnasised the ~e of the credbiit~ of the borrower, who has to belong to a group or compan~ in order to q~Aalif~ for fiAI'Idir1g. "We need to predict a potential borrower's cash flow. Is he signed 1Ap to a pr0d1Acer? Do ~CIA have an events manager? We want to see if yrur money iS coming in a very specific way. If yru are selling one CD this month and the next one after six months, it becomes diftiwlt to get finance," Gathongo said, adding: "A bank loan is there to boost yOIAr project and income

beca~.Ase you will have risked yoiAr money in the initial stage."

The p1Ablic in general c:~nd the finc:~nce sector often tc:~ke the creative indiAStry GIS not being c:1 seriOIAS biASiness, tho~Agh the indiAStr~ hc:~s proved to be c:1 big revenue generc:~tor for the economy provided there iS Gin infrc:~structure to support it.

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

FINANCIERS

Most financiers come in for purposes of advertising c:~nd marketing products. The potential financiers also took out for trade volumes to act c:~s sewrity Glnd a guc:~wntee to plough back their investment. Governments on the other hc:~nd hc:~ve to grapple with ''more importc:~nt" iSSUes like povert~. nc:~turc:~l Glnd lr)Gin-mGide disasters. provision of eduwtion and health. c:~nd development of ph~sical infrc:~structure.

The congress found that one of the biggest challenges for the industry is how to pc:~ckc:~ge Gll'ld promote intellectual property inioaoves for presel'ltation to fii'IG\nciers. ll'ltellectual propert~ rights may be diff1wlt to qual'ltify because it is not a tal'lgible item.

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


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of the South African NGO sector' Avocado Working Paper Series No. 4/2001 Olive Publications

Steven Leach and Lesley Kirton. (2006) Funding Diversification Pilot Progress Reports 1. 2 and 3. prepared by FourGables for Charities Information Bureau available for download at http:/ /www.flt4fundlng.org.uk/publlcations/

The Management Centre (==me). Global Fundralslng Report. October 2008. This report documents the results of a g lobal online survey exploring the Implications of the g lobal financial crisis for fundraisers. It was conducted during the 2008

International Fundraislng Congress In Holland. www.managementcentre.eo.uk/knowled ge_base_detall.php/596/global_fundralsi ng_confidence_report

WSWS (201 0) 'UK Arts Funding Faces Savage Cuts'. article published on the World Socialist Website accessed at www.wsws.org/artclles/201 O/oct20l O/arts-o20.shtml

Websltes Africa Grantmakers Affinity Group -http:/ /www.afrlcagrantmakers.org Trust Africa - http://www. trustafrlca.org


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$0.40 It is geared towards Improving food security for poverty-stricken people. The technology has been adopted in Dafur where It is known as the Zeer Pot. In Northern Nigeria, the Invention has been credited with Improving the economic viability of farming, building the local pottery industry and also on an Increase In the number of girls enrolled In school as they are freed from hawking food every day.

This amazingly simple idea, took two years before it turned Into a reality as he tested out different ways of Insulating and designing the pots. Using his lecturer's salary, he employed potters and started making

Figure 4: Finding the Idea

the pots, distributing the first ones free. Recognising that he needed to market the concept to Illiterate communities, he tried workshops and even village criers, but nothing worked until he wrote a play with a local drama group and put it on video. The video, with the necessary equipment a generator and a publicity team, travels from village to village providing entertainment and access to information (World Aware, 2001 ).

There are hundreds of tools for stimulating creative thinking; some of which can be found at www.creativeminds.org .za

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


What makes an idea successful?

It is simple: creative ideas have little value until they are put Into action. If there is no risk there is no reward.

How do I evaluate my ideas?

When you have an idea or set of Ideas think about the Idea from a range of perspectives (see http:/ /www.dlrectedcreativity.com/ pages/T oolsDev .html):

Shaping. How can we modify the Idea to address objections that would otherwise cause rejection?

Tailoring. Can we modify the Idea to even better fit our needs?

Strengthening. How can we Increase the power or value of the idea?

Reinforcing. What can we do about

\ I ,

TooL ..

weak points? Looking towards implementation. What

can we do to the idea to enhance the probability of Implementation? Who must be involved?

Comparison to situation. How does the idea compare to what has gone or worked before? Should we do further enhancement, expand or scale back the idea?

Potential faults or defects. What could possibly go wrong with this idea? What can we do?

Consequences. What are the Immediate and long-term consequences of putting the idea into action?

Testability and prototyping. How can we try the idea on a small scale?

Pre-evaluation. How can we further modify the idea to meet the needs of those who will evaluate It next?

Evaluate your Idea using the PINC Filter

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

POSITIVES NEGATIVES Things that add value - Intriguing Things that remove value - Concerning Things that could be of volue Worrying things that could remove value

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


3.2. Managing your CreaHve and Innovative Ideas

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

How to tum your ideas into projects?

The first step in doing anything project~elated is to think about what matters to YOU. Developing a project can be a long process that takes commitment and energy - and If you do not have passion for the cause, you will not be able to muster what it takes to complete it. Be thoughtful do not rush to do whatever seems like the new thing! Here are some useful steps (see Youth Noise at http://www. youthnoise.com/page.php? page_id =6219):

(a) Figure out your focus area So you now have an idea, but you need to do research and establish what aspect you would like to focus on and how you can develop that focus so

Figure 5: Your project idea


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

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

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

What do we want? What do we have? How do we use what we have to get

what we want? What will happen when we do?

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

3.3. You, Your Organisation and Realising Your Ideas

As an individual artist, your clear artistic vision Is sufficient to make an application. However, as an organisation, now that you have a clear artistic vision or strong project idea, It is important to look at the quality of your organisation. The primary question here is whether you are ready for funding, and the answer is not a simple one. Things to consider include:

Whether your board Is behind the project.

Whether you have the necessary financial and governance systems in p lace to manage the project.

Whether the organisation has the necessary experience and capacity to realise the idea.

Whether you have a track record with regard to projects/programmes of this scale or type.

Ex~mple ... 4..

In this process, It is critical to be honest about your organisation, staff and current situation. Conduct a simple SWOT analysis to establish what the current status Is of your organisation.

Similar then to the PINC Filter exercise, a SWOT analysis a llows for a visual picture of the organisation to be created within regard to:

Strengths (internal matters which are the resources that an organisation can draw on).

Weaknesses (internal matters which hamper the organisation's development or functioning).

Opportunities (external factors which may exert a positive Influence on the organisation).

Threats (external factors which may present significant risks and challenges for the organisation).

1 1 SWOT Analysis by a Small Arts Organisation in Ghana z STREN6THS WEAI

Good relatiOnS with locCif authorit!j No evaluation unctertaken r Good reputation

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m THREATS X OPPORTUNITIES

-1 m

Public attention on the iSSue Local agency expancting 70 ~ r

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3.4. Are you Ready for Funding?

All donors, whether from small community contributions or large intemational donor organisations will expect some kind of accountability from your organlsalions with regard to the resources that have been provided. Most donors will expect you to have:

Corporate Governance The organisation must have a stable and functional board, i.e. one that meets and plays an active role in the organisation, a clear vision and plan for the future and a good track record of implementation, as proven by its reports and references. Your organisation's history and relationships wHil beneficiaries will also play an Important role In putting prospective donors at ease. Each country may a lso have laws and regulations regarding funding and fundralsing.

In South Africa and Tanzania for example, a ll Non-Profit Organisations are expected to register w ith government as non-profit o rganisations to be eligible for tax and other benefits. In South Africa, each non-profit Is

l)( ')( TipS ...

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

Financial systems The organisation has basic accounting and control systems, as well as the necessary expertise to manage often complex donor financial reporting requirements.

Staffing and infrastructure The organisation has a solid foundation, i.e. office space, communication facilities, computer facilities and of course people to implement the project.

Skills While people are important It is also the skills and experience of the Individuals in the organisation which play an important role in determining whether or not an organisation is ready to receive donor funds.

In most cases, it is only the combination of a ll of these that w ill give the donor the confidence to Invest in you.

X .a Farai's Top Fundraising Tips for Organisations X ' '

1. 2. 3. 4. 5. b. 7. &. 'l.

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He~ve cleCI r or ge~r'!iSCitiOr'ICII ve~lues RemCiir'l tr ue to your orgCir'liSCitior'!'s miSSiOr'l Clr'ICI mCir'idCite

ecific people ir'l te~rgeted orgCir'liSCitiOr'IS l

Figure 6: What the Funder Requires from Your Organisation

Do you hove o responsible boord? Do you hove their support? Do you hove documentation proving your

experience? Are you legally compliant? Do you report on the state of your orgonlsoton

and Its ftnonces regularly and accurately? Do you hove the support of the community which

you serve? Hove you completed $1Jccessful p!'ojects befOI'e?

Do you hove a current bonk account? Do you hove monthly financial reporting

systems? Do you hove accounting systems In

place? Do you hove financial controls In place? Do you effectively manage risks? Do you hove o full time staff member

involved in financial management?

References and Additional Reading

Do you hove o working telephone and fox? Do you hove o stable office premises? Do you hove o computer, e-mail and Internet

access? o Does your organisation hove the people to run

a project of this scale? o Do you hove transportation it the project

requires it?

o Do you hove staff with expertise in the project area?

o Do you hove staff with experience In managing similar projects?

o Do your staff hove project management sldlls? o Do you hove financial management skills In

your staff? o Hove any of your staff worked with donor

funds before?

Organisation Checklist Fit4Funding at www.fit4fundlng.org.uk

World Aware (2001) Shell Award for Sustainable Development accessed at www.worldaware.org.uk/awards/awards2001 /mobah.html


4. THE PROPOSAL

4. 1. Planning a Proposal

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

Take the time to think about what you want to do In the context of the challenge or opportunity and then you will need to:

Clearly define what you will do. with whom and when

Design your arts project In such a way that It Is targeted at the Issue. need or opportunity

4.2. Writing a Proposal

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

write a good proposal that:

Outlines your project comprehensively but briefly

Tells the donor how you will go about Implementing It

What you aim to achieve and who the beneficiaries will be

Most Importantly. explains why this project Is necessary and why your organisation Is best placed to take It forward

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

How to tell the story ...

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

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

How you will teO people about It

How you will implement it

The sustainabillty of the project

The idea

The narrative or story


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Checklst for Your Proposal Planning

BODY PART PROPOSAL SECTION OUTLINE

Heart The problem statement and Background rationale BeneficiGiries

Brain The aim or goal of the project Project title in response to the problem 6ool statement and statement and rationale objectives

Strategies to implement the objectives

Stomach Resource reql-lirements Project budget Risk t"nGGt'1GGgement -Governance and project

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t"nGGt'1GGgement

Hands Implementation strateg~ Project team Roles and responsib11ities Experience and trock record lmplementation/oction pion

Mouth Communicotion and monitoring Reporting and monitoring s~stems Marketing and communicooon plan Stakeholder monc~gement plan

Legs Project outcomes ond Project monitoring results evaluotion Project evaluation results

Long term plans

46 - ARTS FUNDilAISING TOOLKIT

l)( Tips ... r-X

r-

L

'X

' l)(J Before you start writing, here are some important things

to keep in mind:

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

E11sure that !jOUr proposal has a clear a11d explicit purpose. supported b!:1 releva11t facts a11d il'1formati01'1 which are il'1terpreted a11d made clear for the d0110r

Be persuasive, 110t just descriptive

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

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

Be poSitive about !:10Ur organsatiOn and the project al'1d use your words to i1'1Spire yourself a11d the donor

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

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

Do not forget to proofread it before SubmiSSiOI"'

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

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

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

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

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

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

ARJS FUND RAISING TOOLKIT- 47

-~l X )(

-~X - \ XJ l

TipS ... Rodrigue's Top Ten Fundraising Tips:

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

2. Define the project objectives and durCition.

3. CleCirly define Clnd study the project form (for example, gCither African Clrts Clnd culture heCidliners Clnd make them the voice of the voiceless).

4. Define the different ways of developing Cl plan of Clction.

5. Budget the project.

b. Look for funds= consider the Afriwn ne~tional developmet"'t potcies in order to inClude the funclrCiiSing project it'lto development poliCies. fmng one or r"nnffy b;g Siz.e sponsors for the prOJect such as MTN

7. Develop the project b'ke llt"' AfriCan chCIIIenge or AfriCCit"' issue so CIS to it'lvOive the whOle society. Clll the sectors. Once they e~re Clwore, they w~l feel concerned llt"'d support !:f>'Ar noble wuse.

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

'l. For Cln efficiel'1t Clnd massive fundrCiising effort. !::jOU must inswll Cl credible, convincing Clnd decentrCiliz.ed work S!::jStem able to reach CIS mCin!::l people CIS possible.

10. Install or find a good security S!::jstem for the collection of funds.

Rodrigue Ahotondji, Benin, ARTeriCII Network Member


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4.3. The Basic Components of a Funding Proposal

As mentioned before, each grant-maker may have a specific format that must be followed, but on the whole, funding partners require similar Information from applicants (Norton, 2003).

In each of these different areas, the funding partner Is going to have a range of key questions that must be answered pertaining to why this particular arts project Is Important what Impact it will have, what the resource requirements will be, how you will go about Implementing it and how you will report on it.

Figure 8: Information Required in Your Proposal

Goals/aims ObJectives Strategies Impact

The mission and mandate The management

systems In place Its Implementation track

The required skis The required people The required equipment.

logistics and administration The required budget


Information about the arts project

Whot ... ... iS the cho!lenge or the need to be met? ... ore the socio-economic or geogrophic foctors thot mok.e it

importont? ... ore the gools/oims ond objectives of the project? ... do !jOU thir>k will be ochieved in the short, medium ond tong term? ... ore the consequences or implicotions of not doing the project? ... will hoppen when the project ends or the mone!j runs out? ... ore !jOur future pions for the project?

Wh!j ... ... iS it importont to intervene? -

iS the project lik.el!j to succeed? -

ore the needs of these beneficiaries been identified?

How ._ -

rl\Cin!j people will the project impact on. directl!j ond indirectly? -

will the project be sustGilned in the medium onct long term? -

will stclkeholders such os the cOO\fnUnit!j be consulted? -

wm stclkeholders one! other partners be involved one! ~ect? -

wm beneficiorieS be Selected? -

wm the objectives of the project be meosurect? -

wm be tong term impoct of the project be oscertoined? ... Will you diSSeminote infOrrl\Cition OOOut the project?

Information about the organisation

Whot ... -

whot S!jStems ore in ploce to ensure thot the project iS implemented?

-Similor projects hove your orgonisotion unctertclken?

Wh!j -

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

How .. -

wm the project fit into the operotions of the orgoosotion? -

will the project be implemented onct ~ed? -

w~l governonce GVrongements work.?


Information about the resources

Whot ... . .. irwestme1t hos otreody beer1 mOde ir1 the project? ... ore the resource requiremer1ts or1d wher1 w ilt it be r1eeded? ... ore the imptemer1tc1tior1 ptor1s to er1sure thot the project is d0r1e? ... reportir1g mechor1isms wilt be put ir1 ploce? ... other gror1ts hove beer1 source or portr1ers opprooched?

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

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

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

Putting Pen to Paper.

Figure 9: Components of the Proposal

Background

Goals & Objectives

Reporting & Monitoring

Activities, Pions & Targets


Title Page

The title page of your proposal should Include the following Information:

The name and contact details of your organisation (postal address, telephone, fax and e-mail).

The title of the proposed project.

The signatures of the relevant officials, such as the CEO and Chairperson of the Board to Indicate that this proposal Is endorsed at the highest level of the organisation.

Information on any project partners.

Note: Some donors have very specific requirements for title pages and these should be followed carefully.

Summary Page

An executive summary must present a comprehensive but short overview of your proposal by outlining the key points Including:

A brief Introduction to the project Including the background, alms and objectives and your organisation.


The expected outcomes of the project. The resources required.

Some grant makers require you to submit what Is called a letter of Intent/enquiry before you submit your full proposal. This Is almost a pre-selection process that allows the funder to assess the fit between your project and their criteria before a lot of time and effort is spent evaluating your proposal. The Information required Is essentially an executive summary of your proposal that outlines:

The purpose of the funding and the expected outcome of the project or programme.

The target or beneficiary group of the project and the perceived benefits for the organisation.

The fit between the organisation and the funder.

Any prior funding received or experience with projects of this nature.

The current funding requirements and why the funds are necessary.

Should you receive a positive response to your letter of Intent you will be Invited to submit a full proposal and budget.

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X TipS ...

r' l)(. For Your Title and Summary Page

Make !:jOUr title catch!:;j. but also a clear and concise picture of what !:;jOU want to ochieve Make sure that !:jOUr title page iS neat and professional; it iS the first thing that a potential funder sees and so it iS important in creating a good first impression Make a clear link between !:jOUr project and the funder's objectives in the summar!:l Make sure that !:jOUr mention an!:l partners and their roles in the project The best time to write the summar!:l iS when !:;jOU have finished the rest of the proposal, that wa!:l it iS comprehensive and representative of the entire proposal Use the main section titles of the proposal and use the same sequence of information so that it reflects the document and highlights the essential points

Note: Grant makers will have specific information requirements and timeframes for the submission of letters of intent/ enquiry. Make sure that you adhere to these!

Background/Needs Assessment

All funders will expect your proposal to address an area of interest that relates to their funding c riteria. It is in this section of the proposal that you should clearly outline the challenge, the related causes and what your intervention strategy is. Use research and documentation from independent sources to support your ideas and to justify your proposed activities. It is important that you list and make reference to the sources of your information; this will help the donor to check the facts you present and a lso provide a credible basis for the argument you are making.

This section frames all the planning and information that you w ill present in the rest of the proposal so it is important to "set the scene" and create the necessary foundation on which you will then base your goals, object ives, intervention stra tegy and resource requirements.

An important part of creating a compelling narra tive in your proposal is engaging with the target group for your programme; the community, individuals or organisations that you aim to involve in the project. Tell their story to assist in capturing the interest of the donor.

If your organisation has worked in the area or with the specific beneficiary organisation or done similar this, this is where it should be discussed and its successes and challenges clearly articulated.


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

The Flomo Theater Production lt'lc. iS widely known for its splendid dromotic ond culturol performonces as well os comedy Glnd orts. The orgGII'IiSOtion teaches or trains ir'lterested ir'ldividUols or orgor'liSGitiOr'IS in improviSGitiOr'IGII dromos, ond it hos beer'\ very successful in dOing so over the post few years. Aport from the formGII clossroom teoching methodOlogy, the orgor'lisotiOr'l creotes oworeness ond set'ISitisotiOr'l through dromos, jingles, spot messoges or skits Glr'ld live theotre performonces.

However, it iS in thiS direction, thot the orgol'liSGitiOI'I (FTP) would be highly oppreCiGitive if awarded the controct to develop messages oppropriote to the rule of low.

With this in mind the orgoniSGitiOr'l (FTP) iS therefore requesting from The CARTER CENTER-LIBERIA the omount of FIVE THOUSANDS SIX HUNDRED UNITED STATES DOLLARS.

Pleose chot'lnel oil cor'ltocts through the followit'lg Glddress:

1. Siofo K. Bolloh Research officer Flomo Theater ProductiOr'l Liberion Culture Promoters Fror'lt Street Deshield Building Monrovio LiberiGI Cell# 0610101q Emoil: [email protected]


2. &ss T. kollie T rGiir'ling Officer Flomo Theoter Production LiberiGir'l Culture Promoters Front Street Deshield Building Monrovio LiberiGI Cell# 06576503

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r' ' l)(. For Your Background and Needs Assesment:

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

Goals and Objectives

In this section you will clearly need to explain:

The expected outcomes of the project and how this will impact on the challenge you have outlined in the section dealing with the background/needs assessment.

The specific goals and object ives that the project will realise. Remember that your goals are statements of what you want to achieve (outcomes) and your objectives are specific things that you will do in order to achieve these goals.

As far as possible, your object ives should be measurable; this will assist in assessing the success of the project for evaluation

60AL

Increase owareness about HIV I AIDS prevention

Adapted from Moritz (2005)

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

S: Specific (clear and well defined) M: Measurable (obtainable and verifiable) A: Achievable (feasible and possible) R: Realistic (given available resources and

time) T: Timely (able to be implemented in the

specific time frame)

Use the SMART principle to assess and set your objectives and also to craft them so that the donor is able to see that you have applied your mind.

An example of a SMART objective, linked to a goal is:

OBJECTIVE

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

communit~ experiences


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TipS ... For Your Goals and Objectives: r- \ 1~1 \

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

The Organisation

This section provides an opportunity to introduce your organisation to the donor. Briefly outline the history, vision and mission of the organisation and also emphasise its experience in the implementation of programmes or projects of this nature. Any partner organisations should also be included in this section.

Provide an overview of the governance of the organisation, in other words its board and management structures, its staffing structure and the numbers of staff.

Activities, Plans and Targets

This section deals with how you will implement the programme or project. What


you will do and when must be clearly stated and described. This will also help with the development of the budget that is discussed below.

In explaining the "how" of the programme or project to the donor, you should explain what you will do and link this clearly to the problem and needs assessment described earlier in the proposal and also ensure that your activities are aligned to your goals. It is a lso important to explain why your particular approach will be successful where others may have failed or how your method is innovative.

Build ing on the example of goals and objectives above, activities in HIV I Aids prevention through Theatre for Development might be:

Example of Goal, Objectives and Activities in Theatre for Development

GOAL OBJECTIVE ACTIVITIES

11'\crease awarel'\eSS Use Theatre for Develop a ptay about about HIV I AIDS Developmel'\t HIV I AidS prevel'\tiOI'\ prevel'\tiOI'\ methodologies to Trail'\ 40 commul'\ity-

develop specific based performers performal'\ce pieces MoLmt 4 based Ol'\

Documents

Fundraising Toolkit