Universitat Internacional de Catalunya - BarcelonaCultural Financial
Main language of instruction: Catalan
Other languages of instruction: Spanish
Head instructor
The course provides an illustration of the various sources of financing culture, focusing on the State, the market, and the private sector.
No pre-course requierements are needed.
The analysis covers the following sources:
- Public direct financial support (subsidies, awards, grants, as well as lottery funds provided by central and lower levels of governments);
- Indirect public financial support (tax deductions, credits);
- Ticket sales, fees and commissions;
- Merchandising, licensing, rentals and concessions; and
- Private financial support from non-profit organizations, business organizations and individual donations.
The analysis is both qualitative and quantitative. To best illustrate how culture is financed, the course explains data (where possible) in a wide cultural policy frame; basically at a European and Spanish level, including the analysis of arts organizational goals, priorities and decision-making patterns.
The course focuses on four main sources of funds for the arts: the government, the Non-Departmental Public Bodies (or QUANGOs as they were formerly known), the market, and the private sector (sponsors and donors). Each has its own rationale and tends to generate its own institutions and organizations. Any cultural organization or project may need to take these sources and their consequences into account.
To know the characteristics of the main sources of financing the arts and culture, and their motivations for funding cultural projects.
To set the funding needs of cultural projects and how they are related to the accomplishment of the organizational goals.
To highlight the financial composition of the different cultural organizations according to their mission (public, not-for-profit or profit-oriented).
To set the financing goals of the cultural organizations and projects.
To know what strategies the organizations use to obtain funding for its projects.
To analyze annual reports to determine an organization's true financial picture and objectives.
Course’s overview. Course’s Coordinator: Jorge Bernárdez
Sponsorship (3 sessions). Professor: Oriol Aguilà
- What is sponsorship? Sponsorship Definitions. An historical view.
- Developing a sponsorship strategy. How do you create a sponsorship plan? How to identify potential business sponsors? "10" steps to fundraise.
- Sponsorship: Brand Image, RSC, and the engagement with media.
- Experiences and examples around sponsoring opera and arts.
- European benchmarking: tax models, and pan-European examples.
- A classical model to Fund, and new horizons for Sponsorship: Friends, Cross Sponsorship, Crowd funding.
Donations (1 session). Professor: Bill Sinclair.
- Donations for project and running costs.
- Donations for capital equipment and buildings.
- Why and how the two different streams of donations need to be regarded differently and require different strategies.
- Why people give. How they give. What they give — time and expertise as well as money. Barriers to giving. Advantages to giving — personal and corporate tax advantages.
- How to incorporate donations within an overall fundraising strategy.
- Friends, membership, associates schemes.
- Super clubbing.
- Basic tips on how (and how not to) to develop various donation schemes.
- Notes on the costs and impact of administering donations programs.
Public Funding (5 sessions). Professor: Bill Sinclair. The aim of the course is to give students a thorough theoretical and practical understanding of current practices within the public financing of arts and culture.
The course sets out a definition of public financing through delineating the differences between private and public wealth and examining notions of accountability, transparency, commercial and corporate agendas, individual patronage, business sponsorship and public policy.
The course provides a brief historical overview of government support for arts production and distribution including the formation of national bodies responsible for the distribution of public funds, and for cultural production and distribution; the role of culture ministry’s; the formation of the EU and the development of pan-European cultural policies, and global practice through extra-governmental organizations such as UNESCO.
Students are introduced to QUANGOs (Quasi-Autonomous Governmental Organizations), NDPBs (Non-Departmental Public Bodies), and NGOs (Non-Governmental Organizations).
- Introduction: What is public financing? How is it different to private financing? Why and how governments and public bodies finance arts and culture.
- Why and how the EU and other international bodies finance arts and culture.
- Strategies & Tactics 1: The 'culture' of government support. Practical hints and tips for effective fundraising from public sources.
- Strategies & Tactics 2: Examples of good practice. More practical hints and tips for effective fundraising from public sources.
- Advanced practical hints and tips for effective fundraising from public sources.
- Case - Studies of public investment in culture projects.
- Assessment — live presentation followed with written submission.
- Post-assessment discussion of issues arising through assessment and course.
Self-financing (6 sessions). Professor: Jorge Bernárdez. The financial resources generated by the core activity of the cultural organization itself are known as self-financing. The tickets to a museum or theatre, the fee of a dance company or the commission that an art gallery receives for the sale of the artworks are examples of sources of self-financing of various cultural organizations. The companies or individuals which are the most successful diversify these main sources of income with other complimentary ones such as the merchandise of a rock&roll band, the licensing of a picture or the income generated by a restaurant (whether being run directly or through a third party.) The self-financing block approaches the main characteristics of various types of self-financing income through the cases of a heritage center and a performing arts production.
- Self-financing definition.
- Key sources of self-financing in a cultural organization: fees, copyrights, admissions commissions.
- Additional sources de self-financing: merchandising, licensing, space rental, concessions and other.
- Price setting.
- How to set financing objectives.
Case studies in Financing Cultural Practices (2 sessions). Professor: Tracy Sirés. These sessions are dedicated to analyze in depth a fundraising strategy of an organization. We will look into the strengths and weaknesses of the LIFT (LONDON INTERNATIONAL THEATRE FESTIVAL) fundraising model and will be looking into the accounts of a Catalan organization in order to analyze the financial situation and evaluate its fundraising strategies and adaptation to the actual funding cuts.
- LIFT – London International Festival of Theatre
- Associació de Professionals de la Dansa de Catalunya.
- Crowfunding: what is it? how should we approach it? when should we be looking at crowdfunding strategies? Is it a real alternative?.
The ´Funding for Culture´ course is divided into four key components:
It provides a theoretical framework of basic concepts for three types of cultural organizations: public, private, QUANGOs, and NGOs.
´Funding for Culture´ combines lectures with supportive visual material and multiple analysis of:
- Cases.
- Exercises.
- Contributions of guest speakers.
- Scenario based team exercises.
- Site visits.
It is based on the weighted average of the main segments of the course: public, market, private financing and practices.
Public Funding
- John Pick . The Arts in a State - A Study of Government Arts Policies from Ancient Greece to the Present - Bristol, 1988.
- A Study on the Contribution of Culture to Local and Regional Development - Evidence from the Structural Funds - Final Report, September 2010 and Anexes 1 & 2 - Strategy & Evaluation Services with ERICarts.
- Arjo Klamer, Lyudmilla Petrova, Anna Mignosa. Financing the Arts and Culture in the European Union - A Study requested by the European Parliament’s committee on Culture and Education - Stichting Economie and Cultuur.
Self-financing
- Fundació Gala-Salvador Dalí. Annual Report 2010 & 2011. Fundació Gala-Salvador Dalí.
- François Colbert. Marketing Culture and the Arts– Third Edition. Press HÉC-Montréal 2007.
- Neil G. Kotler, Philip Kotler, Wendy I. Kotler. Museum Marketing & Strategy-Second Edition. Jossey –Bass 2008.
- Philip Kotler, Joanne Scheff. Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Bussines School Press-1997.
- Michael M. Kaiser. The Arts of the Turnaround. Brandeis University Press-2008.
Case studies in Financing Cultural Practices
- Julia Rowntree's conference in order:
http://www.youtube.com/watch?v=HJ4mZmD4F40
http://www.youtube.com/watch?v=u9oEra8FeGY&feature=related
http://www.youtube.com/watch?v=xgp1IeHyM7Y
http://www.youtube.com/watch?v=cypPoWFEjwE&feature=related
http://www.youtube.com/watch?v=n1BYJ94jmxU&feature=related
http://www.youtube.com/watch?v=h5r66frJok0&feature=related