Part 5 (1/2)
Other sources of funding Galleries and museums are increasingly trying to entice those who visit, or who just appreciate an inst.i.tution, to get more involved. Most organisations have their own shop on site and, rather than just selling postcards and copies of the items in the collection, many of these shops are now attractively designed boutiques that can become destinations in their own right. Some of the larger organisations may have several shops, perhaps one for children, a second for more general merchandise, a third selling jewellery, specialised clothing and other high-ticket items, and perhaps a bookshop too.
As well as shops, there is a variety of different establishments available for refreshment, from high-ticket restaurants to cafes and coffee shops and, for many, these venues become a 'third s.p.a.ce' (after home and work) where individuals choose to spend leisure time or meet friends, a.s.sociating themselves with the inst.i.tution and the cultural capital it represents in the process, without needing to visit the collection each time. Many galleries and museums have taken out licences to organise events and hospitality and even private functions such as marriages and civil partners.h.i.+ps.
Other sources of income can come from developing aspects of the collection, through an in-house publis.h.i.+ng company that produces both exhibition catalogues and a range of a.s.sociated t.i.tles, some co-published with third parties who appreciate the brand. Similarly, image licensing can be profitable this is where the right is given to include an image from a specific collection within a product produced by a third party, and the product may be anything from a television programme to a t-s.h.i.+rt. The trading profits from all these enterprises, which are sometimes housed within a separate company for tax reasons, come back to support the host organisation.
Case Study: Licensing in museums Interview with Brenda Conway, Image & Brand Licensing Executive, NMSI Trading Ltd 'It is mostly only the larger museums (or groups of museums) that have their own licensing department, but where these do exist they can provide a substantial income to the organisation. Broadly speaking, their job is to market the intellectual property of the organisation, to create an income stream out of the information housed within the museum, whether this is held within objects or staff. This may mean working with third parties to create a range of merchandise that the public wants to buy, perhaps toys and gadgets, or items specific to a particular location, such as railway-related items that are produced to link with the collection in the National Railway Museum in York. Or it may mean approaching a potential supplier and asking if they can produce something on behalf of the museum, for which we have spotted a potential market.
'Most of the merchandise is sold either through our retail outlets or high street stores, and it also often sells well through ”off the page” advertis.e.m.e.nts in the Sunday supplements, where the Science Museum branding can serve to rea.s.sure the customer buying at a distance of the quality of the merchandise on offer. A typical item would be a chemistry set sold through retailers, with particularly high levels of sale at Christmas. Whereas there are other sets on the market, the one licensed by us would contain information from the relevant curators within the museum on the science behind the experiments and have an added educational value; thus everyone buying it would be confident they had a superior product within its specific market, and something they could give as a present with confidence. Sometimes we arrange for merchandise to be created that will not be sold, but rather used as an incentive available only with the buying of a members.h.i.+p package, or as a special offer to those who have already taken one out.
'All this activity has grown since museums stopped charging for entry and were forced to look for a range of other opportunities for funding. Each year we display at the Brand Licensing Show and are active members of LIMA2 (which has its head office in the US but also an office in the UK see Appendix for contact details). We are a separate trading company offering licensing and also an image bank and we make a significant contribution to the museum's funding. (which has its head office in the US but also an office in the UK see Appendix for contact details). We are a separate trading company offering licensing and also an image bank and we make a significant contribution to the museum's funding.
'As a career option, most staff working in this area come from an arts licensing, product development or a legal background. It is a sharper atmosphere than other aspects of museum work, with a huge scope for development. For the individual who finds this work interesting, and wants to be part of this development, such a role offers a lot of potential.'
Why would people give money to museums and galleries?
'The world is not ungenerous, but unimaginative and very busy.'
EGLANTYNE JEBB, FOUNDER OF THE SAVE THE CHILDREN FUND3 Three key points to bear in mind: people may not give unless first asked or if they do give, probably never at the level they are capable of after research, cultivation and a well-managed 'ask'; in general, people do not mind being asked for money as much as many people fear and many are pleased (and often flattered) to be asked; asking for too little is a common mistake: you cannot insult by a.s.suming that the potential donor you approach is either more generous or more wealthy than they really are.
People decide to support a charity for a variety of reasons. In The Seven Faces of Philanthropy: A New Approach to Cultivating Major Donors The Seven Faces of Philanthropy: A New Approach to Cultivating Major Donors4, Russ Alan Prince and Karen Maru File describe a variety of different kinds of donor and accompanying motivations, from those who give from a sense of dynastic obligation ('my parents and grandparents supported this inst.i.tution, so it behoves me to do the same'), through the altruistic (wanting to give to the community) to those who rely on business models that make financial sense (it is tax efficient and helps me promote my business or organisation). Different individuals and groups require different messages, and the key skill in securing money is often in spotting (or rather listening out for) what it is that the donor gets from a.s.sociation with a particular museum or gallery.
It is also important to pay attention to the criteria that will influence a decision. Most buying decisions are based on both rational and emotional grounds, and most of us a.s.sume we are rational at all times. In effect, emotional factors are hugely important although, having felt their impact, we may then justify our decisions under the 'rational' heading. The effective message of asking for support communicates both emotional and rational messages, which are mutually reinforcing.
Rational reasons for supporting an appeal from a museum or gallery: an effective use of resources; makes good use of financial planning, especially in connection with tax and inheritance liabilities; prominent display of the name and logo and hence wider visibility of the organisation/individual; public support for an organisation that is doing an effective or important job, and hence the resulting halo effect includes you/ your organisation; networking with significant others likely to be useful in future, both within the organisation asking for the money and other patrons you may meet in the process; a springboard for changes you want to implement too, e.g. showing that you are an organisation that values culture or building a culture of optimism and hope by being a.s.sociated with a project that attracts enthusiasm and reveals dynamism.
Emotional reasons for supporting an appeal: a deep sense of satisfaction; an awareness of doing the right thing; learning more about something that is intrinsically interesting; appreciating the opportunity to meet interesting people who have chosen to do the same thing; being valued and validated through the process of involvement; belonging to a community; making a difference.
Explaining the proposition Development staff need to present a message asking for support that potential donors respond to. Different people will respond to different messages, so while one potential organisational donor may be looking for a chance to project their company's name, another may be looking for the opportunity to make their brand seem more 'family friendly' and thus see a link with a cultural and educational inst.i.tution as a mechanism for achieving this.
Individuals may have similar aims, whether subconscious or conscious. Some may like to use the restaurant, and appreciate that by eating there they support an organisation they are proud to be a.s.sociated with; others may relate to a particular aspect of the collection, having been taken to see it as a child, or perhaps because it displays something from the area where their ancestors originated.
Marketing materials need to be written with such core messages in mind and at the same time convey an effective description of the project, the values it encapsulates and the careful husbandry of resources (materials should be tastefully but never over-expensively produced this would imply the draining off of funds that could have gone to the core project).
In return, the organisation will offer its supporters something back, such as free entry for members to special exhibitions, or a newsletter for Friends that reinforces a sense of pride every time they step through the doors. Most organisations are particularly keen on family members.h.i.+ps that develop and extend the sense of belonging into the next generation, a habit of a.s.sociation that children grow up with and so see as part of what they do (and hence pa.s.s on the habit to the next generation).
Case Study: How does it feel from the donor's point of view?
Mary and Tom are sponsors of a major cultural venue and have been so for six years. Tom made a personal pledge to give 10 per cent of his income to charity a number of years ago and he and his wife support a wide range of charities.
They were approached about sponsors.h.i.+p by an organisation they now support, having progressed through various different types of privileged members.h.i.+p, and were not offended to be asked. Indeed Tom, a management consultant, appreciated the organisation getting straight to the point about what it wanted. The projects it asks them to sponsor tend to be specific, and targeted to their interests, which they feel it has taken the trouble to understand.
Tom says: 'In general it's a positive experience; we all feel at home when we enter the now familiar portals and it's rare that there is not someone we run into from the management team that we don't know. This feels pleasant. We have appreciated getting to know more about the organisation and in particular getting our two teenagers involved; it's somewhere we enjoy going as a family.'
As for little niggles, I eventually extracted the following from Tom: 'The development people have no idea how my world works and how far ahead I am committed. My diary is full 810 weeks ahead, and so when they ring to ask me to something the following week I always have to say no.' After this happened a couple of times, perhaps the development people should have got the message that a lot of notice is needed for Tom to attend, and to match their invitations accordingly.
Development people obviously vary, but I have come across many who are not particularly good listeners, or who take insufficient trouble to empathise or intellectually engage with the sponsors they are looking after. Tom commented: 'Sometimes this results in the development people trying to control the sponsors too much; for example only allowing you to visit when they can personally host and insisting that all relations.h.i.+ps inside the building are controlled and monitored by them. Sponsors.h.i.+p is often quite formal in that certain levels of sponsor achieve corresponding privileges but the moment anyone tries to put me in a box, I try just as hard to get out of it.'
Events which link the sponsors together purely because they are sponsors tend not to be particularly enjoyable. Mary commented: 'Just because you all give to the same organisation does not necessarily mean you are going to have lots in common and want to spend time with each other. On one particular evening I got rather irritated by the a.s.sumptive nature of the conversation, which was prompted by a political event that day. I was irritated by the presumption that because you had enough money to sponsor, you automatically voted Conservative. We have not been regular attendees of such events.'
How to identify potential patrons, individuals and organisations There is no subst.i.tute for networking and being well connected. You may spot an organisation that could offer support, but it will be key individuals within it who are the means of accessing the funds, so knowing who's who is very helpful. And, once you have identified the key people, it's important to develop a personal relations.h.i.+p with both them and the people who influence them often their spouses. You need to know not just names but also inclinations, key values and current giving patterns.
You might invite key individuals to the inst.i.tution to meet members of staff, for a meal, a chance to see something that may specifically interest them, or to a launch event. The impact of 'intellectual hospitality' can be substantial you don't just give them a gla.s.s of wine and a canape, you give them interest, knowledge, the company of pa.s.sionate experts and in doing so spark their curiosity and support, These are things they can't easily buy. And once they are inside the building you might try to get them further involved in what is planned, perhaps in an organisational capacity, say as a campaign chairman or committee member, in the hope that they may then recruit their contacts to join too. You are in part aiming to persuade potential supporters from an initial stance of 'How are you you going to raise the money?' to one of 'How are going to raise the money?' to one of 'How are we we going to raise the money?' which means they have identified with the cause and now see it as partly theirs. going to raise the money?' which means they have identified with the cause and now see it as partly theirs.
There is also a range of trust funds and charitable organisations that give away money, but can do so only under criteria that link their foundation with the project seeking funding. The skill here is to make the bridge; to establish the basis on which the foundation was set up and make the case for their supporting your specific project.5 Qualities needed by people interested in working in development A wholehearted commitment to the values of the organisation you represent and an eagerness to explain its relevance to the wider world. You cannot do this job without agreeing to this basic principle.
Confidence, to establish that you have the right to ask for support and that the project you stand for merits that support.
Bravery. Asking for money is not an easy thing to do. It takes guts to spot the appropriate amount and push for it. This can only be done effectively if you feel you have a right to ask, and the confi-dence to do so effectively.
Excellent interpersonal skills and, in particular, to be a good listener; to make the case for what you are explaining and at the same time watch out for both potential interest in the donor and the factors that appeal to them most. The particular donor's interests or career choices can make a really good starting point for developing a relations.h.i.+p with them.
A good memory for names, faces and accompanying details.6 Creativity in preparing a proposal that the market identifies with and wants to support. Creativity in preparing a proposal that the market identifies with and wants to support.
Determination, to keep going and not be put off by setbacks, or take them personally.
Calmness in handling negotiations.
Diplomacy and persuasiveness.
A team player; what you achieve will be through teamwork and it helps if you get personal gratification from this group goal rather than wanting your individual contribution to be recognised.
Appropriate levels of self-presentation. Your style of dress and personal grooming should fit with your organisational brand.
An ability to negotiate.
Patience. Some donations take a very long time.
On occasion, silence. Knowing when to stop talking is a huge a.s.set.
Case Studies Interview with Sandy Richardson, Head of Development for National Museums Scotland 'I took a degree in English literature at Aberdeen and my first job was in publis.h.i.+ng, firstly for William Collins in Glasgow and later for HarperCollins in the sales and marketing of their t.i.tles. I subsequently took an MBA at Edinburgh and moved into Alumni Relations and fundraising for Heriot-Watt University (also in Edinburgh). This was in the early 1990s when development work was in its infancy; universities were waking up to the fact that they had large numbers of former students who wished them well and might help to sustain the organisation in future. I moved across to work for National Museums Scotland in 2004 and have been involved in development work here ever since.
'For me the best part of the job is the group of highly committed colleagues I work with; they are extremely knowledgeable, pa.s.sionate, and fascinating. The development team consists of nine, but we have the staff of the entire museum as our wider team and often it is the involvement of a specific curator or expert that makes all the difference between a prospective donor deciding to get involved or not. We are facilitators people don't want to give money specifically to the Development Department, but they understand that we often make the discussions happen that enable them to connect philanthropically with the inst.i.tution, its aims and values and its amazing collections. And when we are successful, it is important to ensure that everyone involved receives credit and that the inst.i.tution as a whole sees how much we are valued by the community at large, which is motivating for us all.
'Our approach is long term and sustained: finding out about those who might like to support what we are doing; building relations.h.i.+ps and maintaining contact. For each capital project that is considered, our involvement is from the earliest stages: in weighing up whether what is proposed can generate the required level of support; drafting materials to explain the proposal; perhaps commissioning consultants to take soundings from key potential supporters on what we have in mind and if the project is approved working with colleagues in all departments to see these goals realised. Having established our overall financial targets, we break them down into highly specific targets; trying to establish the interests of individual 'prospects' (i.e. individuals, trusts or companies who could give money), what they might seek from involvement (for example, the promotion of their name, the opportunity to find out more about our collection and learn from it or a benefit to society that relates to their own values and ethics) and then work directly with them or through others who know them well (such as trustees or members of a campaign board) to build the connection.
'We have a strong offering to make. We are, after all, the the national museum. Among other things, our collections express the impact that Scotland made on the world. They show the role of Scottish pioneers, explorers, endeavour and the value we have always placed on education. This is one powerful message we can use to approach Scots, both here and those who have settled elsewhere.' national museum. Among other things, our collections express the impact that Scotland made on the world. They show the role of Scottish pioneers, explorers, endeavour and the value we have always placed on education. This is one powerful message we can use to approach Scots, both here and those who have settled elsewhere.'
Interview with Ruth Gimlette, members.h.i.+p volunteer at the V&A 'I have been working at the Victoria and Albert Museum for 15 years, for the last 11 with Gwenda Constant, and before that with someone else. We form a regular partners.h.i.+p, every second Wednesday afternoon running the members.h.i.+p desk in the corner of the main entrance hall. The gallery is open to the public for free, but special exhibitions have to be paid for and our job is to encourage people to sign up for members.h.i.+p, which allows them instant access rather than having to pay and queue for tickets each time. Members get a range of other benefits such as discounts in the shop and restaurants, and of course also save time they can just show their members.h.i.+p card at the entrance to the special exhibition plus they have the satisfaction of helping to support something they believe in. When the queue for exhibition tickets is particularly long, the museum staff like us to walk up and down, reminding those who are waiting that if they had a members.h.i.+p ticket they could just walk straight in.
'Our unofficial function is to be the face of the organisation we are reminded that ours are the first faces many people see. We sit in the corner of the impressive entrance hall and we do have a dress code (black and white). We also function as an enquiry desk, telling people where the nearest bathrooms are, the shop, the restaurants and specific exhibits. Having worked in the museum for so long, we know it very well and it pleases me to be able to direct people.
'I do like working here. Gwenda and I were already members ourselves, but we had to make a formal application and quote references, and of course being accepted was pleasing. We receive training, a regular printed newsletter telling us things we need to know and may be interested in, and at Christmas there is a special party at which the museum's director thanks us for our valuable contribution. We also have the opportunity to act as front of house staff for events organised for members, and if you turn up and help tick off names and do other administrative tasks, you can then stay and enjoy the rest of the day. There are many memorable occasions here one of the best was when Kaffe Fa.s.sett decorated a huge Christmas tree in the entrance hall. He gave a demonstration of how to make the fans with which he was planning to decorate it, and I eventually had four on display. I was quite proud of that! My family are glad to see me busy and I think working here means friends and relatives a.s.sume I am brighter than I am! I love to bring my grandchildren and show them around the collection.
'You also meet interesting people. It's fun to watch the arrivals and speculate about who are the fas.h.i.+on students and who are the visitors, and from which country. You can also spot famous people on their way in and out last week I spotted Terence Stamp.'