For Folksbiene, which has performed in the same auditorium for the last 5 years, it will hopefully not have to do the same as the Philadelphia Orchestra anytime soon.  Folksbiene has a special connection to the auditorium it performs in as the auditorium is part of the Manhattan Jewish Community Center.  However, it is still possible that something could happen that would force the theatre it to move its performance space, especially in the current economy.  Though it is a mystery as to whether it would be worse for the theatre or for the auditorium.  In the case of the Mann, they were able to bring in students and freelance performers to fill the empty slots, but it is unclear as to whether the Goldman-Sonnenfelt Auditorium, where Folksbiene performs, would be able to do the same.  Even if there are music schools in the area, the performances would have to be related to Judaism as it would be in the JCC.  This would be very difficult for the auditorium to find, so they can only hope Folksbiene doesn’t decide to leave anytime soon.

     Most notably, Wicked will run in Richmond for 24 performances in March of 2010 at the Landmark Theater. The show has enjoyed tremendous success on Broadway and on tour, and for the widely renowned musical to come to Richmond for the March run of shows is  big news for the city.

     Additionally, David Copperfield will open the “Broadway in Richmond” season with a performance in October at the Carpenter Theater and November will feature the widely popular musical “Avenue Q” in the newly restored venue.

      Despite difficult financial times and the struggles of many Broadway productions recently, clearly Richmond will be making a run to continue to enjoy the arts and theatrical productions. After so much hype, I hope that the Richmond CenterStage concept lives up to everything it is supposed to be. Subscriptions for the “Broadway in Richmond” season are available for $129-$250. It will certainly be highly interesting to see how successful Richmond CenterStage can be in this economic climate.

Sources:

Roop, Jason. “‘Broadway in Richmond’ Season Announced.” Style Weekly [Richmond] 3 Apr. 2009. 3 Apr. 2009. 7 Apr. 2009 <http://www.styleweekly.com/ME2/Audiences/dirmod.asp?sid=&nm=&type=Publishing&mod=Publications%3A%3AArticle&mid=8F3A7027421841978F18BE895F87F791&tier=4&id=CFAE5A429E0E4CDBA3654DD9EF6E6A99&AudID=307AACC9CB4748F1BF28EC3057EA1071>.

Apparently merging is becoming a more popular trend according to a consulting company that specializes in merging of nonprofit organizations, La Piana Associates. “You’ll see more financial pressure on nonprofits…I expect to see the pace of consolidation only increase.”

Many nonprofits have already shutdown and more are expected to in the near future. Unfortunately, some of the organizations that no longer exist were probably bringing about needed change in the communities in which they existed. There is fear that smaller organizations that may not be “well oiled fundraising machines,” but do a lot of good will fail while other large nonprofits will survive and may even be more successful within the next two years.

Maybe the smaller organizations that aren’t “fundraising machines” should be the ones that are strongly considering merging with another organization right now. Although the process may be more painful than usual because the two organizations are mission driven, it is for this very reason that they should consider merging to be the best solution. It is the service that nonprofits provide to their communities that is supposed to be their sole reason for existing. If by merging, that service can continue to be provided, then they should look to merge.

Foundations are becoming more informed donors and are encouraging others to do the same. They are no longer going by someone’s word, and are asking for data or proof of the effectiveness of an organization before they decide to give. Unfortunately, few organizations or outside studies have compiled this information. So then how do organizations like the Mosaic Youth Theatre of Detroit receive awards for being the best run nonprofit in their city?

In Detroit especially, many foundations themselves are coming together to decide who would use their grant money most effectively, and encouraging nonprofits to merge. One of the largest collaborations of foundations in the country is in Detroit. It came about in order to help some of the 50 nonprofit organizations that exist in the city survive due to the financial struggles of the automotive companies that contribute a lot of money to nonprofits. The collaboration includes the Skillman Foundation, The Kresge Foundation, the W.K. Kellogg Foundation, and others. Fortunately for the Mosaic Youth Theatre of Detroit, both the Kresge Foundation and the Skillman Foundation, which is one of the wealthiest foundations in Detroit, have given to them in the past. Since Mosaic Youth Theatre of Detroit is considered one of the best run nonprofits in Detroit, contributes significantly to the community, and is greatly funded by automotive companies, they will probably be one of the first organizations considered worthy of grants from the collaborating foundations. They will probably be able to avoid the trend of merging.
Gose, Ben. “Survival of the Fittest? Charities, foundations struggle over restructuring in

sour economy.” The Chronicle of Philanthropy.9 April 2009. 9 April 2009. <http://philanthropy.com/premium/articles/v21/i12/12002901.htm>

http://www.philly.com/inquirer/entertainment/20090408_Orchestra_to_cut_summer_performances_at_Mann.html 

The Mann Music Center in Philadelphia is cutting back its summer performance schedule to the smallest number of concerts in recent history.  This might not come as a shock due to the falling economy and the cut-backs for arts organizations but the Mann is happy about their need to reduce the summer concert series.  The biggest risk for the Mann is that not enough people would attend the concerts.  The orchestra is performing only five concerts this summer, only three of which are charging an admission cost.  Unfortunately, the season regulars (like my family!) are more than disappointed by reduced number of shows.  If the Mann had decided to run a full summer program they would run the risk of losing money but their decision with the orchestra is saving $200,000 on their annual budget.  While it is sad to see a tradition affected by the economy, I think that the Mann will be able to come back, maybe not next year but soon, and continue to offer a full summer concert series.   That is the benefit of a long-standing group of ticket buyers and donors, they will continue to support a group that they love even when times are bad.

New arts organizations and youth programs must continue to do well in order to survive.  At the Los Angeles Philharmonic there is a youth program for classical music.  There are over 200 children that have been recruited to participate in this fairly new program to assist inter-city children with furthering their music education.

Although it is sad to see a place like the Mann Music Center have to cutback, I would much rather see that being the trend if it means that children’s groups can continue to flourish.

• “Orchestra to Cut Summer Performances at Mann” by Peter Dobrin <http://www.philly.com/philly/news/42655072.html>
• “A New Round of Cutbacks by Orchestra” by Peter Dobrin <http://www.philly.com/inquirer/magazine/42724922.html>
• “On a Positive Note” by Candie Jones <http://philanthropy.com/premium/articles/v21/i12/12000501.htm>

The Philadelphia Orchestra has reduced it’s summer season to five shows, the lowest in its entire history at the Mann Center.  You might know, “you’re going to get a great evening with the Philadelphia Orchestra,” but now it seems their only chance for survival will be to heavily promote these shows so that they’re playing to a full house.

On Tuesday Juilliard announced tehy’d be cutting their music training program for minority schoolchildren.  Although this may not be a “castle” of a program for Juilliard, cutting programs that feed individuals into their programs for the future could: a) significantly reduced the quality of their student output b) reduce funding in other areas because they aren’t fulfilling the needs of a diverse base c) seriously damage their reputation with their own community by appearing elitist and d) reduce their ability to bring in mid-level patrons who are interested in community engagement and what the organization can do for them.  Perhaps the list goes on even further for Juilliard, but what is clear, is that again a major institution is cutting a major program.

What’s next?  Will Disney instead of offering reduced price tickets to its powerhouses like the Lion King start cutting performances? It’s entirely possible it’s not just Nicolas Cage isn’t the only one who has to sell a castle.  It’s clear major organizations are selling off their more minor one’s, so perhaps Disney’s castle is in just as much jeopardy as the cash-cows, or proverbial castles, of major arts institutions.

Dobrin, Peter. “Orchestra to Cut Summer Performances at Mann.” Philadelphia Inquirer. 08 Apr 2009. Accessed 08 Apr 2009 <

http://www.philly.com/inquirer/entertainment/20090408_Orchestra_to_cut_summer_performances_at_Mann.html>.

Healy, Patrick. “New Discount Program for Disney’s Broadway Shows.” The New York Times.  01 Apr 2009. Accessed 08 Apr 2009 <

http://artsbeat.blogs.nytimes.com/2009/04/01/new-discount-program-for-disneys-broadway-shows/>.

Wakin, Daniel J. “Juilliard Curtails Program that Serves Poor Children.” The New York Times. 07 Apr 2009. Accessed 08 Apr 2009 <

http://www.nytimes.com/2009/04/08/arts/music/08juil.html?_r=2&ref=arts>.

Looking at 2008, of those who reported increased funding, only 66% reported that contributions rose by 20% (or less).  Showing another extreme change, in 2006, 28% of organizations stated that donations grew by 50% or more.  The percentage of organizations reporting this same fact in 2008 was 5%.

Interestingly, the survey included statistics on various types of fundraising methods.  For example, 51% of organizations who raised more money last year in direct mail declined to 38% in 2008.  This fact will have nonprofits rethinking their direct mail strategies and how much of their budget goes into them.  Another trend that Mr. Ottenhoff reported on was the importance of cultivating young donors and reaching out to the public who donates $10, $25, $100.  This is becoming more important as, in the survey, the nonprofits relying on large gifts from major donors reported a drop off 63% to 43%.

Researchers stated the funding decreases were not focused on a certain type of organization but were common across all nonprofits of all sizes in varied locations across the states.  Paulette Maehara, President of the Association of Fundraising Professionals, also notes that in previous economic downturns, it was the small organizations who were affected, whereas now the economy is hurting “organizations across the board.”

I will be looking for, as I am sure we all will be, updates on GuideStar (and reviewing more recent 990 forms as they become available) on the organizations we have been working with this semester.  While I do not know the statistics of funding for 2009 for the Richmond Ballet, I do know that they have been fortunate enough to not need to let go of any dancers, faculty or staff.  Many dance companies across the US have been decreasing their dancers by 2-3 dancers, letting staff go, and ending their performing seasons early.  The Ballet is on a hiring freeze but at this point will not be decreasing their employee numbers or changing any major components of their performances.  As “The State Ballet of Virginia” is going into their 25^th season as a professional company, I hope the strong reputation of the Ballet, the belief in the Ballet’s Directors (Artistic Director Stoner Winslett is also celebrating 25 years with the Ballet), and the excitement and inspiration they produce will keep audiences and donors involved so that this economy to be just a little bump in the road as they continue to “awaken and uplift audiences and dancers” for another 25 years.

The complete survey, titled “2008 State of Fundraising Survey” will be available from the Association of Fundraising Professionals in May.

http://philanthropy.com/news/updates/index.php?id=7636

            An examination of the purpose of this site then begs the question, “how will the establishment of this site impact the attendance in the Indianapolis Museum of Art or in art museums nationally? If the mission of the website is to allow people to truly obtain a museum experience from merely browsing the videos on their website, what does this mean for the future of art museums or any arts organization - period? Although this website may address some discrepancies that may arise between the art/theatre viewing generation and the iPod listening, Mac toting techie generation, how will the museums be able to maintain themselves financially if no one is actually attending? This may be a possibility as the Indianapolis Museum of Art has invited other non-profits to join their site; the New York Public Library, the Smithsonian American art Museum, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art (Taylor, 3). If they are successful with this website, the IMA will also seek corporate sponsorship to cover costs. So the question remains, how can arts organizations strike a balance between utilizing the tools of technology and still maintain their identities as real, concrete organizations? This will be an interesting trend to watch – especially during this economic downturn – when access to the website is free, and entrance to museums is not.

To view and play on the website in question, follow this link: http://www.artbabble.org/

Sources:

Taylor, Kate. “ArtBabble Site Opens Windowto World of Museums.” The New York Times. 7 April 2009.

One of the largest arts organizations in Northeast Ohio has just declared a financial emergency.  The theater is saying that they will be closing by the end of this month if they cannot raise $150,000.  The Beck Center for the Arts is an interesting case because of its large annual budget of $2.3 million.  The Beck earns 60% of it’s income through ticket sales and 40% through donations.  President, Cindy Einhouse, said that due to the economy most of The Beck’s donors have stopped giving. 

The theater does not have an endowment in place and Einhouse says that the theater is in a constant state of playing catch up.  The Beck however does have a glimmer of hope on the horizon.  The Kennedy Center recently accepted the Beck into its Arts in Crisis program.  Einhouse will be traveling to D.C. in a couple of weeks to meet with Michael Kaiser to get guidance on how to turn The Beck around.

 While it saddens me that so many arts organizations are on the verge of extinction in the current economy, I can’t help but wonder if emergency campaigns are the new special event for fundraising.  I know we have discussed in class how an organization never wants to appear desperate, but in the recent months it seems that arts organizations, big and small, are sounding the alarm and threatening closing if donors don’t pony up.  I will be interested to see the percentage of organizations that are successfully rescued in the coming months.  Maybe this economy is revolutionizing the way organizations approach fundraising?

 Brown, Tony. “Beck Center May Close if Money Not Found Fast.” Cleveland.com. 1 Apr. 2009. 6 Apr. 2009 <www.cleveland.com>.

Article 

In the first part of the semester among the article I was reading many were denouncing the fact that arts organizations due to the current economy struggle to rise money. Now I am finding more and more articles about the methods that organizations should use to find donations even in those times. Probabily all non-profit organizations across the country are trying to find alternative ways to cope with the current situation.

The articles I have recently been reading strees the importance that marketing and communication has for any non profit-organization. It is important to have a strong brand. I think this goes back to the idea that in such times to survive all organizations have to try hard to be unique and make/ be the “dfference” and also being able to communicate it properly. Make sure that people have a clear understanding of the organization’s image and aim both inside and outside the organization is critical.

It is interesting to see that articles stress the importance to coltivate relationship with young donors in these times. A “danger” is that fund raisers would look just for those niche groups that might still be able to give in those hard times, and do not spend enough time cultivate their young donors. Trying to attract young donors remains on the contrary a key factor in philathropy. This is a long-term philanthropic strategy and organization should not expect to raise significant money. The aim should not be the money but the effort to engage the individuals. Trying to involve them in the work of the organization giving them volonteering opportunity according to their interests. Create an enviroment where young professional can have fun and in a social enviroment where they can connect with family and friends. Making information easily available for them: through web site, through facebook. Once the organization get the attention of the donors it should make an effort to maintain that. Young donors are infact the future of an organization and help to maintain it alive and update.

BIBLIOGRAPHY

1

April 01, 2009

Association of Fundraising Professionals
How Charities Can Find Donations Even in Tough Times

http://philanthropy.com/

2

March 31, 2009

Association of Fundraising Professionals
Attracting Young Donors

http://philanthropy.com/