Walker International Communications Group

Art, Community and Business equals success in the Non- profit world

This article examines trends in funding and offers solutions that will ensure the longevity of our cultural organizations.

© Copyright Donna Walker-Kuhne

In my last article, I discussed the funding environment for non-profits and examined first hand experiences of the decision making process. While it is a formidable task to prepare and present one's cultural organization in a competitive manner, there are some remarkable examples of successful fundraising strategies that we can all learn from. These include a growing trend of artists working collaboratively and increasing their understanding of making themselves and their art more accessible.

Today, funders, donors, philanthropists - whatever you want to call them are interested in how to make their giving more profound. The questions they have include what kind of social impact can their dollars make in our communities? Specifically, which communities will be affected and how? What kind of follow-up exists and how will the programs be evaluated. This may be simplistic to some of our readers but having read through hundreds of applications seeking funding, this is often what is missing and can have a huge impact on whether or not they receive the grant. What does this mean to small and mid-size African American arts organizations? Artists in our current 21st century climate may not be able to afford to simply think about creating their work because it is satisfying and fulfills a need for creative expression. Artists should also be aware of who will enjoy, purchase, or buy tickets to their product and how does it address some of the glaring social issues we currently face? For example, does it fill an arts in education initiative, does it partner with community organizations and how does it engage a specific constituency?

Let's take a page from the internationally acclaimed Alvin Ailey American Dance Theater. The November 1998 issue of Crain's New York Business wrote a wonderful article acknowledging the smart business acumen exhibited by this company. When Judith Jamison came on board in 1989, she inherited more than a $1million debt. In less than ten years, she reconfigured her board of directors to include executives from the business world. The company signed a host of co-marketing agreements that brought in cash and services in exchange for sharing its cachet such as bringing on Jaguar as the official car of Alvin Ailey. The goal according to Sharon Gersten, Ailey's executive director was to "professionalize the company as a business". The art was not compromised. Jamison created a blend of traditional pieces and new works that brought in rave reviews from audiences and critics alike. This case study presents an example of combining artistic excellence with a strong business strategy. Non profits needn't shy away from the commercial arena. Utilize tools that can help you advance.

In my former position as Director of Community Affairs at The Public Theater in New York we garnered an increased interest from our donors and funders as a result of the efforts of my department. Our focus on bringing together diverse communities created an exciting environment in which traditional theatergoers could experience and enjoy theater with an eclectic audience that produced a wonderful energy which is exciting and challenging.

I believe in solutions and would like to offer these prescriptives for arts organizations, funders and communities. Arts organizations should consider creating entrepreneurial programs that will generate streams of income such as merchandising and sponsorships. They should hire a development consultant when necessary to research and prepare proposals so that they are competitive and reflect the artistic brilliance demonstrated onstage. There should be development of sustainable programs, activities that extend beyond the immediate project with a solid growth potential.

Funders should take note that artists need time to think and develop projects and not worry about financial stability. They need time to research the projects and to document their work. Let's expand the definition of who is worthy of receiving money . Let's formulate think tanks for arts organizations to brainstorm on strategies for economic success.

This is a collaborative process. Arts organizations cannot develop this initiative single-handedly. We need everyone. It is a community effort. How can you replicate the Ailey example? Where do we start?

If you are reading this article, you can be a patron of the arts. Support a local arts organization, either through cash or in-kind services. Volunteer your services for mailings, data entry or ushering. If you have technical skills, they are sorely needed, in marketing, press, personnel and financial management and of course fundraising. Think about what you can do to help the arts movement in New York. What can you do to protect the creative growth of African American art forms?

Together arts organizations and communities can make a significant impact in the cultural product and longevity of our organizations based on these collective efforts. We can help them be competitive. Imagine the pride you will feel when you hear of your local arts organization receiving a grant or taking a leap forward. Start now!

Next time we will take a behind the scenes look at the Black professionals who are bringing their expertise to Broadway.