Mark Shugoll

At Last, a Ray of Hope (from The pARTnership Movement)

Posted by Mark Shugoll, Jun 20, 2013


Mark Shugoll

Mark Shugoll Mark Shugoll

There is no doubt that the arts have faced, and continue to face, challenging times. Subscription numbers trend downward, putting increased pressure on each show to be a hit and sell lots of individual tickets. Total contributed income has been decreasing at many arts organizations, or at least has not grown fast enough to match increased costs and growing artistic ambitions. Words rarely associated with arts organizations in the past are becoming increasingly common: declaring bankruptcy, downsizing, and even going out of business.

In this challenging new reality, there is at last a ray of hope. In the recently completed triennial BCA National Survey of Business Support for the Arts conducted by Americans for the Arts, corporate giving is up for the first time in nine years. From 2009 to 2012, arts giving from corporations is up 18 percent. Before we all get too excited at what sounds like a huge number, remember arts giving is up 18 percent over three years, an average of a more modest 6 percent per year. And arts giving has only recovered to 2006 levels (although the survey does not adjust giving for inflation).

But the upward progress cannot be denied on almost any measure in the survey: the percent of businesses contributing to any philanthropic cause is up from 52 percent in 2009 to 64 percent today; the percent of all businesses giving to the arts is up from 28 percent in 2009 to 41 percent today; the percent the arts receive of total philanthropic contributions is up from 15 percent to 19 percent; the median contribution to the arts is the largest it has been in 6 years, up from $750 in 2009 to $1,000 today. And there is hope that these trends will continue as slightly more businesses today say they expect their total philanthropic giving, as well as their arts giving, to increase rather than decrease in 2013.

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Sarah Cortell Vandersypen

Investing in Emerging Leaders in the Arts

Posted by Sarah Cortell Vandersypen, Mar 26, 2012


Sarah Cortell Vandersypen

Sarah Cortell Vandersypen

Sarah Cortell Vandersypen

“With the Government giving less to art and education, somebody’s got to give more. And that somebody is America’s corporations.” — Chase Manhattan Bank (Wu, 2002, p. 122)

During these challenging economic times, arts organizations and professionals must seek innovative funding opportunities. These opportunities include partnerships with the private sector. Americans for the Arts, in collaboration with the National Association for Business Economics (NABE) Foundation, has done just that.

In October 2010, I had the honor of receiving the 2010 NABE Foundation Americans for the Arts Scholarship. The scholarship was established in 2008 to encourage the integration of the arts into the economic education process. By investing in human capital, both organizations seek to promote creative thinking, innovation, and visionary leadership.

During the time I received the scholarship, I was completing my M.A. in Arts Policy and Administration at The Ohio State University. This unique program, a joint degree between the art education department and the John Glenn School of Public Affairs, challenges the way arts professionals think about the sector.

With its multidisciplinary approach, the program incorporates a variety of courses including economics, finance, policy formation and implementation, program evaluation, and nonprofit consulting. My graduate program has taught me to think critically about the policies and management of the nonprofit arts sector, and the NABE Foundation Americans for the Arts Scholarship has freed me to do the work I love.

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Ms. Janet T. Langsam

Westchester: Net Worth vs. Net Value

Posted by Ms. Janet T. Langsam, Jul 10, 2012


Ms. Janet T. Langsam

Janet Langsam

Here in Westchester (NY), when we talk about the arts and the economy, we have a great story to tell. Working with Americans for the Arts, we have done successive reports every five years since 1995, building our economic impact to $156 million, with some 4,800 jobs.

It is a daunting task reaching out to 150 affiliates, begging data from overworked colleagues, doing live interviews with arts-goers and culling the information; but we do it because it is the single most important tool in our advocacy arsenal.

As an internal document, the report becomes our barometer; we know those are the numbers we have to beat in the next report. As an external document, it gets the attention of thought leaders in our community and perks up the ears of our legislators. It has also built broad community support. In a quick (and not so dirty) community SWOT analysis last year, 95 percent responded that the arts are important to Westchester’s economy.

Yet, as most arts councils, we struggle with the “conversation”—that is, how we talk about the value of the arts in tandem with this “dollars and cents” version of our net worth.

To help us shape the “net value” conversation, we developed a “Why Do the Arts Matter?” series of ads, featuring prominent business leaders saying things like:

“Art has the power to bring people together—especially at a time when every effort is being made to divide people in the world”

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Jonathan Tuchner

The Next Iconic Partnerships? (from The pARTnership Movement)

Posted by Jonathan Tuchner, Oct 18, 2012


Jonathan Tuchner

Jonathan Tuchner

If you visit Tate Modern during the next few days, go down the ramp and turn right into The Tanks. On the opposite wall you will find images and notes celebrating thirteen years of the Unilever Series at the Turbine Hall.

It is a quiet celebration; a gentle place to reflect on what has arguably been the most significant arts and business partnership over the past decade or so. Many will forever recall the glow of Ólafur Elíasson’s The Weather Project, the thrill of Test Site by Carsten Höller, or the structure of Rachel Whiteread’s 2005 Embankment. Unilever’s money made all this happen.

Tino Sehgal’s These Association is the final work in the Unilever-sponsored series, which has attracted almost 30 million visitors over the past dozen years. Unilever says “It was planning a change of direction in its sponsorship programme, which is more focused on sustainability and the environment.” Where does that leave the arts?

Between 2000 and 2012, Unilever provided £4.4 million sponsorship in total, including a renewal deal of £2.2 million for a period of five years which was agreed in 2008. This is big money for arts partnerships and it created huge public interest and media profile for Unilever.

Unilever has had a long and important relationship with the arts over many years. This has ranged from the creation of the Lady Lever Art Gallery in Port Sunlight through to in-house amateur dramatics in the 1960s and an astonishing programme called Catalyst which ran over much of the last decade using the arts to inspire and engage their staff.

Their relationship with Tate began when Niall Ferguson was in charge and I recall him early on saying it was his passion for art that drove the investment. Clearly there was passion but what was the business case?

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Bruce Whitacre

Theatre Brings New Perspective to Global Health Issues (from The pARTnership Movement)

Posted by Bruce Whitacre, Feb 21, 2013


Bruce Whitacre

Bruce Whitacre Bruce Whitacre

"We have a euphoria inhibitor in Stage 2 trials," explained the drug company executive to the bio-tech venture capitalist.

I paused. I told him that we in theatre seek euphoria wherever we can find it. He laughed and explained that euphoria inhibitors help keep strong pain medication from becoming addictive. The venture capitalist leaned in to hear more and I went to the buffet for another sandwich.

I was attending the Long Wharf Theatre's 2013 Global Health and the Arts symposium, "Obesity and its Public Health Consequences."

Driven by the combination of Yale Medical School and other Yale University researchers, the proximity to the Boston research corridor, the Tri-state pharmaceutical industry, and the catalytic qualities of Long Wharf trustee David Scheer, the conference capitalizes on Long Wharf's unique location in New Haven, CT.

The idea came from David's desire to do more for Long Wharf Theatre. It played to his strengths, and as I'll explain later, those of Long Wharf as well.

In past years, the conference has focused on cancer, addiction, mental health, and Alzheimer's disease. It's a serious medical conference that is convened in and uses theatre to enliven and engage researchers and businesspeople alike. 

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Bruce Whitacre

Arts and Community Development: Connections Matter to Funders (from The pARTnership Movement)

Posted by Bruce Whitacre, Jun 27, 2013


Bruce Whitacre

Bruce Whitacre Bruce Whitacre

As corporate giving for the arts turns a corner post-recession, arts organizations like ours, the National Corporate Theatre Fund (NCTF), view the development with cautious optimism. Every three years, Business Committee for the Arts (BCA), part of Americans for the Arts, publishes a survey of corporate support for the arts. The report - a fascinating quick read, conducted by theatre patron and research guru Mark Shugoll, reports the first positive trends in corporate support for the arts in six years, although giving is still below pre-recession levels.

This year, the survey goes deep into why companies do and do not support the arts, and what could make them give more, or get engaged in the first place. Two observations stand out to me as ah-ha moments: Arts organizations have lost contact with the CEO's who drive these decisions, and the arts community is not sufficiently connecting and communicating its education and social engagement activity to broader community engagement and development.

A recent experience underscores my first key observation in the report - that only 10 percent of companies surveyed make supporting the arts a top priority in their contributions. While this is higher than three years ago, when it was only 2 percent (I wonder what accounts for the change), this was a bracing reminder of where we are on the corporate priority list. To celebrate the founding of several regional theatres 50 years ago, an NCTF board member connected us to a media consultant to craft profiles of CEOs in various communities talking about why regional theatres are key to their philanthropy and partnership policies. Our consultants found that media outlets wanted proven research, or at least anecdotal experiences, of employee creativity, engagement, business objectives realized through theatre, and so on.

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