Consultatie conceptprogramma ondernemerschap culturele sector
Reactie
| Naam | DDA (Mr David Dixon) |
|---|---|
| Plaats | Haarlem |
| Datum | 29 april 2012 |
Vraag1
A) Communicatie Geven aan Cultuur1. Wat zijn volgens u belangrijke momenten waarop culturele instellingen hun publiek (individueel of collectief) voor het verkrijgen van giften kunnen bereiken?
2. Kent u goede voorbeelden van culturele instellingen of individuele creatieve makers die succesvol zijn geweest in het verkrijgen van giften?
1) Cultural organisations can ask for donations at any usual point of contact such as ticket-purchase, visits to the museum or theatre (etc.), at special events, visits to the website, in the season booklet and so on.
In addition, cultural organisations can (should!) ask for donations directly by telephone, post, email and personal meetings during frequent campaigns.
Cultural organisations in the Netherlands will become fundraising organisations permanently, so they shoudl get started very soon!
2) Most cultural organisations in the United Kingdom have long experience of seeking donations for their work. There are very many good examples. In the Netherlands I am aware that The Concertgebouw, Het Ballet Nationaal and the International Film Festival Rotterdam have begun donation programmes.
Vraag2
B) Mecenaatmakelaar1. Welke expertise (uit de culturele en private sector) moeten vertegenwoordigd zijn in de raad om een gedegen toewijzing mogelijk te kunnen maken?
2. Aan welke voorwaarden moeten individuele creatieve makers en kleine culturele instellingen voldoen om gebruik te kunnen maken van de faciliteiten van de mecenaatmakelaar?
1) Four main areas of expertise are needed a) arts management (people who know how cultural organisations function) b) general business (people who know how businesses function) c) finance (people who know how money works) and d) fundraising (people who know about how to develop relationships between donors and organisations, not necessarily in culture. ALL of these areas of expertise are needed.
2) Cultural organisations must be create a) a convincing Business Plan, so donors and funders know believe they will flourish economically and b) a Case for Support which explains why the organisation is important and what they will do with the money.
In addition, it would be helpful for cultural organisations to analyse their strengths and weaknesses and also their 'assets' (of all kinds) which they can use in relationship with finance and fundraising.
Finally, cultural organisations can only develop new income streams with the active understanding and support of their boards - the role of boards is crucial.
Vraag3
C) Onderzoeksprogramma naar de fiscale aspecten van cultuurmecenaatOntbreken er volgens u nog kennisvragen voor het onderzoeksprogramma? Zo ja, waar denkt u dan aan?
Legislation will, in itself, not generate any additional income for culture, although good laws on tax relief, investment in culture, VAT and so on are essential and send a signal to everyone that the Government supports donation and investment in culture. However, many laws can and do create barriers to donation and to other forms of finance for culture. Can the government identify barriers of this kind and remove them?
Vraag4
D) Versterking van ondernemerschap bij individuele creatieve makers en kleine instellingen1. Welke competenties en thema’s zijn volgens u het belangrijkst voor het versterken van het ondernemerschap bij kleine culturele instellingen en individuele kunstenaars/creatieve makers?
2. Welke onderwerpen moeten volgens u bij het aanbod van een programma in 2013 en 2014 centraal staan?
1) Everyone in the cultural sector, large and small, need to understand that even though their motivation is not money it is nevertheless essential to use the main tools of business. It is possible to use these tools without losing your soul! Small organisations and individual artists are usually already very entrepreneurial - they are agile, creative and careful with money. They just need some training, support and sources of start-up finance.
Small organisations and individual artists do need support and encouragement, but I would say that the real problem with entrepreneurialism in culture lies with the medium and large organisations which have become bureaucracies.
2) Training and support for business planning; identification of one's own assets and strengths; the role of investment finance; philanthropic fundraising. In addition, it would be very useful to have specific funds (public and private) for start-up and development investment finance and brokers of the kind you are already considering in order to make contacts.
Vraag5
E) Leiderschapsprogramma Cultuursector1. Wat zijn volgens u de belangrijkste competenties en/of thema’s waar het leiderschapsprogramma zich op moet richten?
2. Heeft u opvattingen over de inrichting van het programma?
3. Zijn er naast het ‘voorbeeldfunctie’-principe nog andere methoden om vanuit een netwerkperspectief het leiderschap duurzaam te versterken? Zo ja, waaraan denkt u dan?
1)
* Business Planning
* Leading a change in organisations culture
* investment finance versus grant funding
* collaboration across organisations
* cost control
* people management
* making the most of digital technologies
* the use of outside expertise
2) The programme should have two main strands: a) development of existing leaders (often older, well-estblished, pwerful, experienced, perhaps reluctant to change) and b) new leaders (often younger, inexperienced, creative, hungry). I believe both kinds of programme are necessary although it might be fun, sometimes, to throw them together!
I believe the programmes should have an international dimension since culture is international in all aspects. They must be the kinds of programme to which people commit very seriously. The programme for existing leaders must be built around their heavy workloads.
3) Using examples from cultural organisations in this country and elsewhere is useful as are examples from other types of organisations (not just businesses). However, it is necessary to have a structured programme which includes reading and practical exercises too - this is a development programme, not just 'show and tell'.
One big problem with 'good examples' is that it does not address the question of how we get from here to there. This is a process of change management which cannot come just from inspiration.
Vraag6
Heeft u nog overige opmerkingen en/of suggesties voor de in de notitie beschreven acties?I welcome this development which recognises the unique role which the government plays in encouraging and supporting change, in providing financial support at key moments which the private sector cannot provide and in creating links between culture, business, community and politics.