By Michael M. Kaiser
and Brett Egan
The CyclePlanning for Success in the Arts
Introduction: What Is The Cycle?	 4
Artistic Planning	 5
Programmatic and Institutional Marketing	 8
Building and Engaging the Family	 12
Incremental Fundraising	 14
Controlling Cost, Reinvesting, Building Capacity	 16
Conclusion		 18
Contents | 3
CONTENTS
4 | Introduction: What is the Cycle?
Time and again, we find this pattern at work in
successful, healthy arts organizations:
•	 Their programming is bold, mission-driven,
and balanced;
•	 They market that programming, and the
institution behind it, aggressively;
•	 The resulting visibility produces a swell of
interest and enthusiasm among a “family”
of ticket-buyers, students, board members,
donors, funders, and volunteers;
•	 They make it easy and enjoyable for that family
to get more involved—to contribute money,
time, or connections; and
•	 They reinvest revenue produced by that
family in even more bold programming that,
marketed well, entices an ever-larger, more
diverse, generous, and connected family.
When this cycle repeats year after year, all
parties—staff, board, and family—sense they are
part of a winning enterprise and, committed to
the organization’s continued success, grow more
generous and productive. These organizations
grow incrementally, donor by donor, and slowly
build and maintain artistic and financial health.
In our work at the DeVos Institute of Arts
Management at the Kennedy Center, we see
this cycle in successful organizations of all sizes,
urban and rural, in the United States and abroad.
We see it not only in performing and presenting
organizations, but also in museums, arts schools,
service organizations, historical societies, public
libraries, university programs—even advocacy
organizations, botanical gardens, and zoos.
In fact, any not-for-profit organization that must
fundraise to support its work can benefit from
these principles.
But this cycle is more than a theory of how to
build and maintain health. It is also a practical
management tool that defines relationships among
artistic, executive, and board leadership. Each party
has specific responsibilities in a functioning cycle;
each depends on the others to succeed.
At the heart of this theory is a total dedication
to long-term planning. Without sufficient time to
fund and market bold, transformative art, our art
will suffer, our audiences and donors will stagnate,
and our seasons will—at best—plateau in scale
and ambition.
The remainder of this booklet discusses each
aspect of this cycle—planning great art (or
“programming”), marketing, building a family,
fundraising, reinvestment—and common pitfalls
in each area.
In the end, this cycle presents a logical framework
for how to build strong, sustainable enterprises
one step at a time.
The Cycle
A theory of organizational
activity that prioritizes
investment in great
art: when bold art is
marketed aggressively,
an organization attracts
a family of energized
ticket-buyers and patrons.
The income produced by
this family is reinvested in
more art that, marketed
well, builds a larger, even
more diverse family.
When this cycle repeats
year after year, the
organization incrementally
and sustainably builds
capacity, presence and
health.
INTRODUCTION:
What is The Cycle?
The Cycle
$
Family
Great Art
Aggressive
Marketing
Artistic Planning | 5
Transformational
Programming
Bold, exciting, surprising,
“big idea” programming:
an organization’s primary
means to energize and
galvanize audiences
and donors. Planned
sufficiently in advance,
it forms the basis for
aggressive marketing,
successful fundraising,
and incremental growth in
institutional capacity.
An organization’s health—indeed, its survival—
relies on the quality, imagination, and
distinctiveness of its programming. If we fail
to produce superior programs, educational
opportunities, and productions, we cannot
say that we are successful or that we deserve
support. It is likely that, before long, our donors
and ticket-buyers will come to agree.
What conditions are required to create truly
transformational programs that stretch our
capacity to its hilt? What must we have in
place to produce—at the quality and scale we
desire—that citywide festival, risky commission,
visionary service, or landmark exhibition that
forces audiences to pay attention, excites current
supporters, and attracts new ones?
First, and fundamentally, transformative
programming requires careful, long-term
planning. The most exciting, adventuresome
projects—which often rely on new funders,
collaborators, and outreach to build support
and demand—are simply too expensive and too
complicated to rush.
For this reason, we recommend planning major
programs three to five years in advance.
For some, especially smaller organizations, this
process may seem daunting, unnecessary, or
even impossible. But, for us, it is fundamental
to building sustainable organizations. This is
especially true for growing companies that
want to significantly increase the scale of their
offerings. Without the time to create, fundraise,
and market increasingly ambitious art, their
seasons will stay roughly the same size, quality,
and character season after season. Without
additional manpower and resources to build a
more sophisticated offering for new and larger
audiences, growing companies will, at best,
plateau and hold on; at worst, after several
interchangeable seasons, their donors will lose
interest and begin to spend their time and
money elsewhere.
Long-term artistic planning is the simple process
of putting dreams down on paper. Because it
envisions work taking place years in advance, it
does not necessarily depend on the current size
of our budget, staff, or board. It does not need
to happen during business hours or on a special
retreat. It does not require fancy technology. All
this process requires is a sheet of paper, a pencil
(with an eraser), time, and imagination.
We believe that:
•	Planning increases our chances of securing
the funding required for the “big idea.”
Meeting a fundraising target that exceeds
current capacity takes time. It is scary enough
to program daring work. It is crippling to do
so without sufficient time to fundraise for it.
Without sufficient planning, our seasons and
our art stay roughly the same size year after
year.
•	 Planning ahead also strengthens the
donor relationship; it is far more practical
and enticing to offer a “menu” of potential
investments taking place over the course of
several years than to try to shoehorn each
donor into the next, most urgent project.
•	 The large, experimental project requires
marketing and educational efforts to identify,
engage, and solicit current and new audiences;
these efforts take time to conceive, budget,
and implement.
Artistic Planning
6 | Artistic Planning
Artistic Planning
•	Planning enhances impact and visibility. With
time, we can organize auxiliary efforts such as
master classes, lectures, and special events,
and develop the alliances often necessary to
produce larger projects by leveraging shared
resources, visibility, and audiences.
•	 In some arts industries, such as opera and
orchestral music, one must contract the best
talent years in advance; the stars get booked
up early. Service and advocacy organizations
that rely on collaboration among multiple
stakeholders must budget time to build
necessary alliances and research. The most
sought-after playwrights, composers, and
choreographers can require years to respond
to a commission. Without sufficient planning,
we simply forfeit access to the best art.
•	 While artists are remarkably efficient, the
creative process is rarely neat. Advance
planning provides time to develop,
challenge, edit, and restart—the “messiness”
required to create great art.
EXAMPLE ARTISTIC PLAN FOR A REGIONAL THEATER
	Year/Season 1	Year/Season 2	Year/Season 3	Year/Season 4	Year/Season 5
Program/Date					
Program/Date					
Program/Date					
Program/Date					
Program/Date					
New production of
play “A”
Annual production
or Series
Collaboration with
institution “A”
Work-inprogress
series in
collaboration with
“X” radio station
In-school work in
“X” number of
school districts
New production of
play “B”
Annual production
or Series
Festival featuring
multiple works by
playwright “A”
Commission of
emerging playwright
“X”
Expand in-school
work to “X”
area of town in
partnership with “Y”
organization
New production of
play “D” with live
music composed
by “X”
Annual production
with guest artist “B”
in exciting space “X”
Co-commission
of dream
playwright with “X”
international festival
New plays from “X”
country festival in
partnership with the
regional community
from “X”
Virtual learning hub
added to Web site
to provide access to
our repertoire and
those of “X” and “Y”
collaborators
New production of
play “E” with live
music performed by
“X” and dance by “Y”
New annual
production to
celebrate our “X”
anniversary
Festival in
collaboration with
“X,” “Y,” and “Z”
institutions on
our theme of “A”
to celebrate our
anniversary
Anniversary
retrospective of
10 plays we’ve
premiered over
last “X” years
Festival of young
playwrights to
celebrate “X” years
of our work in the
community
New production of
play “C” with video
design by “X” artist
Annual production
with guest artist “A”
Collaboration with
institution “A” to
produce a new
production of “X”
Work-in-progress
series staged by
director “X”
Master class series
featuring “X,” “Y,”
and “Z” celebrity
artists working with
our schoolchildren
This sample template is just one of any number of ways to organize a five-year plan. (There is nothing sacred about this
system, but it is simple and effective.) In each “Year/Season” column, we write down program names (when we have
them), as well as ideas for key collaborations, educational programming, festivals, commissions, artists, etc. As the seasons
progress, so do the complexity and scale of our offerings. This sample includes examples in every slot, but an effective
five-year plan need only indicate major programming as far out as possible.
Artistic Planning | 7
An effective, long-term artistic plan does not
need to list every program in every year. It
should, however, define major programming
“spikes”: exciting, bold, transformational
work that requires additional fundraising and
marketing capacity to support. Other, smaller
programs can fall in later.
This plan can—and will—change. For presenters,
a last-minute, must-have opportunity can replace
an any-season program. (Funds raised for an
aborted project can often—with proper care—be
diverted to another.) Experimental producers
and artists who create their best work in the
moment can nonetheless plan key partnerships,
engagements, tours, educational work, and
anniversary celebrations well in advance.
All that is required for effective planning is
a sensible combination of forethought and
entrepreneurialism.
But this kind of planning cannot be rushed. Too
often, we are so consumed by delivering this
year’s (hastily planned) programs that we fail to
plan for the next. In desperation, we resort to
mimicking what has worked for others or what
has worked before to simply fill a “slot” (the
holiday show, the family attraction, etc.). In doing
so, we abdicate our role as cultural leaders and
resign ourselves to following the taste of our
audiences and peers.
The best programmers—even those who appear
to design extraordinary seasons, year after year,
without much effort—are working every day to
identify and secure the most exciting artists,
premieres, and collaborations. They are dreaming
years in advance; securing a pipeline of the most
attractive talent; enticing donors and staff with
visions of the future; modifying when necessary;
and developing auxiliary content to extend the
impact and visibility of their most important
projects.
In doing so, they maximize their chances
of producing highly competitive, diverse,
transformative seasons year after year. The
ability to surprise and energize audiences on a
regular basis becomes all the more important
as our industries proliferate with talented peers
and cheap, electronic alternatives. While virtual
performances cannot offer the same experience
as a live event, for many—particularly younger—
audiences, they are “close enough” substitutes
for our work.
At the same time, this competitive diversity
has made it much more difficult to achieve and
maintain visibility. We have to fight harder, and
offer more, to maintain interest. Couple this with
reduced funding from fewer institutional sources
and more places for individuals to spend less
discretionary income, and the organization that
fails to surprise and excite its audiences on a
regular basis will fade from the radar. Its family,
and its resources, will dwindle. And it will be left
with even less to reinvest in the next year.
This is why, particularly during recessionary
periods (when competition intensifies), daring,
“big idea” programs are so critical. They
operate like a mental “reset” button, forcing
our audiences to pay attention (again), keeping
our work top-of-mind amidst a crowded field.
(Importantly, big idea programs do not need to
be big budget programs. But they do have to be
vibrant, exceptional, and surprising.)
It is easy to claim that long-term planning is
impossible for capacity-strapped organizations.
It is equally easy to say that it must be done. But
one fact is clear: planning offers the highest odds
that a major project will happen, will happen
well, and that it will produce the excitement,
enthusiasm, and resources required to repeat
that success year after year.
Capacity
An organization’s ability
to fulfill its mission year
after year, as measured by
its manpower; the knowhow,
or skill, possessed
by that manpower;
the quality of strategy
developed to integrate
and leverage that skill;
the resource produced
as a result; and the
sustainability of these
elements. An organization
with adequate capacity
marshals each element to
fulfill its mission year after
year. An organization with
insufficient capacity lacks
the manpower, know-how,
strategy, resource, or
sustainability to fulfill its
mission year after year.
To produce increasingly adventurous and
meaningful art that asks our audiences to follow
us—especially along that transformational, less
familiar path—we must be prepared to compete
aggressively for their attention and loyalty.
This is the role of marketing, which we approach
from two directions.
Programmatic
Marketing
First, programmatic marketing consists of
the tools and strategies we use to build an
audience for our work, to sell tickets, educational
programs, lectures, exhibitions, etc. It uses both
traditional means—print, radio, and television
media; direct mail; telemarketing; community
partnerships; special incentives; discounts;
networks—and electronic, viral, social, and
mobile media. These are our ads, e-blasts,
brochures, radio spots, social media, online
efforts, etc.
Effective programmatic marketing develops a
long-term, multipoint relationship with the buyer.
It asks us to identify target audiences and tailor a
strong message; promote that message through
appropriate channels to create demand; price
services competitively; drive demand to point
of sale; contextualize and educate around the
service; ensure quality of the experience itself;
and lay the framework for future loyalty.
This practice requires that we thoroughly
research each program to determine whether
its potential buyers are among our existing,
core audience or whether “marginal” or new
prospects will need to be targeted as part of a
special campaign.
Certain programs that feature recognizable,
popular repertory or stars—The Nutcracker,
Picasso, an annual conference, etc.—do not
require expensive, expansive campaigns.
These programs require what we think of as
informational marketing efforts: a program
name, location, photo, date, and phone number
should be sufficient to incite a sale.
The more daunting, transformational project—
with which our audiences have less familiarity
and comfort—requires what we think of as
a missionary marketing effort. An unknown
international attraction, a world premiere,
an experimental artist, a new service: these
programs require that we make a special effort
to convey to potential buyers what is unique
and valuable about the proposed experience.
This type of marketing requires that we plan
and budget for additional research, outreach,
and community engagement in order to build
an appropriate earned revenue base for the
attraction.
Understanding where along this spectrum each
attraction sits is central to developing efficient
programmatic marketing campaigns.
Programmatic
Marketing
The tactics used to
identify and target
potential audiences for
each attraction, create
awareness and demand,
and drive a sale (of
tickets, classes, services,
or other experiences).
Effective programmatic
marketing extends
beyond the transaction
to contextualize each
offering, ensure a high
quality of experience, and
lay the groundwork for
a long-term relationship
with the buyer.
8 | Programmatic and Institutional Marketing
Programmatic and
Institutional Marketing
Programmatic and Institutional Marketing | 9
Institutional Marketing
The second, less familiar approach to producing
visibility for our work is what we refer to as
institutional marketing. Rather than sell a
specific show or program, these efforts build
awareness and enthusiasm for what and who
we are as an institution. They focus on creating
so much excitement and magnetism around our
work that ticket-buyers and donors actively want
to be part of what we are—irrespective of their
attraction to any single program or offering.
This effort recognizes that audiences and donors
have limitless options as to where to spend their
leisure time and money and competes to keep
one’s institution and its offerings top-of-mind in
this crowded marketplace. Simply put, this effort
aims to make the people and institution behind
one’s art more “famous” and irresistible.
Institutional marketing uses all institutional
assets—whether physical (buildings, costumes,
collections, etc.), human (internal or external), or
experiential (artistic process, dinner at a special
home, backstage tour, etc.)—to soften potential
“buyers” (audiences, members, donors, board
members, collaborators, presenters or exhibitors,
volunteers, even staff) to the extent that they are
likely to buy or support our work without a “hard
sell.”
Like programmatic marketing, this takes time,
rigor, and dedicated capacity. But because it
relies on the imaginative utilization of existing
assets, big ideas, or the creative characterization
of work we plan to do anyway, it should be
inexpensive or even “free” to execute. It is
important to remember that, because excitement
and awareness are critical to successful
fundraising, an investment in institutional
marketing is a direct investment in our effort to
raise money.
What does institutional marketing look like in
practice?
•	 Bold, surprising, transformational programming
is in itself our primary, and best, form of
institutional marketing. Major festivals,
innovative programs, provocative collaborations,
and unique or high-profile artistic talent all
“spike” excitement and enthusiasm—the
hallmark of successful institutional marketing.
Of course, successful programs also sell tickets.
But importantly, they produce a sense of our
organizations as alluring, exciting, unique, and
impossible to ignore.
•	 Creative, well-produced announcements of
future work—even two or three years ahead
of time—suggest a vital, robust, energized
organization. (This is particularly important for
organizations in a turnaround.) A live season
announcement attended by donors, staff,
press, and partners builds excitement and a
sense of belonging. The public celebration
of a new strategic plan, rendering of a future
home, or collaborative partnership can be
equally effective.
•	 Ensuring that press—a favorable preview,
review, or other mention—reaches key
decision-makers and likely buyers is essential
institutional marketing. We are often elated
(or traumatized) by reviews that no one else
sees. (Or if they do, they forget about them
immediately; we often assume we are much
more famous than we actually are.) Great press
suggests a vital organization—but only if one’s
buyers actually read it.
•	 Auxiliary activities that celebrate the individuals
or process behind our programs, and extend the
impact and visibility of our art, can be equally
effective. Master classes with celebrity guests
(everyone can reach someone more famous
than they are); special events to welcome a
new artistic director; lectures, backstage tours,
competitions, exhibitions, open rehearsals, online
exposés; open houses, neighborhood strolls, or
exhibitions featuring new members of a service
organization—all are relatively inexpensive,
effective institutional marketing tactics.
Institutional
Marketing
The creative use of
organizational assets
to create spikes in
awareness, energy, and
enthusiasm around an
organization, beginning
with the presentation of
transformational art itself
and continuing through
activities that heighten
awareness about the
people, process, and
other institutional assets
behind that art.
10 | Programmatic and Institutional Marketing
Programmatic and Institutional Marketing
•	 Leadership ideas that galvanize the activity of
multiple collaborators are especially effective
at building visibility, while limiting investment
of time or other resources. For instance, the
company that organizes others to program on
its theme (e.g. a citywide festival celebrating
the art of a specific country, era, or anniversary)
creates an army of activity that points back to
the leadership of the organization behind the
idea. This type of institutional marketing makes
us appear much larger than we actually are.
•	 All of the above have increased impact and
traction when timed with an historical moment,
global cultural event, or social movement that
has captured the greater public imagination,
e.g. anniversaries of artists or nations,
inaugurations, the Olympics, an environmental
or humanitarian concern, etc.
Like all forms of marketing, institutional
marketing is only effective if repeated again and
again. For this reason, we find that the most
successful organizations build a calendar of
regular activity—integrated with their program
calendars—to organize these efforts.
Like artistic planning, all that is required for this
process is imagination, a piece of paper, a pencil,
and time. The executive director (who is the chief
architect of this campaign) must toil as rigorously
on this plan as the artistic director does on his
or hers.
EXAMPLE INSTITUTIONAL MARKETING PLAN
Smaller organizations should aim for approximately four institutional marketing initiatives each year. Mid-size and large
organizations should aim for approximately one institutional marketing initiative each month.
Institutional Marketing Initiative
September
October
November
December
January
February
March
April
May
June
July
August
New production and special event/gala; press push; circulate resulting coverage to game changers
Online competition for walk-on role in upcoming production
Citywide festival based on our programming (“leadership idea”)
Free performance in a collaborator’s space for their donors, audience, and family
Announce a new commission with the artist present; game changer event afterwards
Premiere of provocative collaboration; press push; circulate resulting coverage to game changers
Live announcement of upcoming season (as a group with other organizations?)
Hold a party to release the new strategic plan; send a copy to all game changers and funders
Launch a master class series featuring master artists in conversation with students
Open an exhibition at a neighboring cultural center or museum
Everyone’s at the beach, no one is reading the paper…take a break!
Really…take a break! No one cares what happens in August! Plan for next year!
Programmatic and Institutional Marketing | 11
In order to create sufficient visibility, large
organizations need at least one major
institutional marketing advance each month. For
smaller organizations, three or four spikes per
year will make a meaningful difference.
There are two audiences for this effort. The first
is the general public—potential ticket-buyers,
students, visitors, etc. A successful general
campaign results in increased earned income
by inciting a large volume of small transactions
(ticket purchases or other paid transactions).
The second audience for this campaign is our
current and potential family members—particularly
our major donors, program officers, board
members, and primary partners. Because these
relationships are central to our fundraising effort,
managers must make a special effort to ensure that
institutional marketing reaches this core group.
Especially in capacity-strapped organizations,
managers must be focused about where,
between these two audiences, they focus. In
most smaller organizations, managers do not
have the time or resource to direct an institutional
marketing campaign at a vast, unknown audience
in hope that these efforts will lead to a mass of
unsolicited, spontaneous donations. In fact, most
organizations only need to target 100 to 300 (and
there is no magic to this number) key individuals
who, with the stroke of a pen or a single decision,
can change its future. It is critical that each of
these “game changers” is privy to as many of
these spikes as possible.
For this reason, institutional marketing is even
more important for small or rural organizations
than for their larger, more accessible counterparts.
They have less capacity for programmatic
marketing and need to create more visibility
with less resources. An aggressive institutional
marketing campaign can propel even a small,
out-of-the-way organization to the forefront of
the local, regional, or national consciousness and
dramatically expand the pool of potential ticketbuyers
and donors. But, more importantly for
fundraising purposes, their energized families are
likely to become more generous and willing to
compel their friends into action.
There are multiple other benefits of an effective
institutional marketing campaign:
•	 It should lessen programmatic marketing
expense—especially in the case of missionary
campaigns. If audiences are inclined to follow
us because they believe in what we are,
institutionally, it is more likely they will buy a
subscription for an entire season or attend
a risky premiere—prior to reviews or word
of mouth—because they trust our brand of
artistic leadership. This baseline of support
should embolden our artistic decision-making.
•	 It can bring an ailing board back to life.
Underproductive boards are usually also
underwhelmed, or even embarrassed, by the
art or financial situation of the organization. A
bad review or balance sheet has given them
pause; they have grown hesitant to involve
their friends in a lackluster, financially insecure
effort. An effective institutional marketing
campaign can reset this mentality, as we renew
these game changers’ energy and enthusiasm
in an organization they feel is moving in the
right direction.
•	 Institutional marketing saves time. For the
capacity-strapped executive director of a small
organization (with little or no marketing staff),
a successful visibility campaign can motivate
multiple game changers at once. For the busy
trustee, a focused institutional marketing
campaign provides the basis of pride, visibility,
and public confidence necessary to swiftly and
successfully engage others.
But, most importantly, audiences and donors that
are excited by who we are, fundamentally, will
be much more inclined to contribute generously.
In this way, effective institutional marketing
becomes the cornerstone of fundraising success.
Game Changers
A relatively small group
of people—key funders,
board members, highvalue
individuals, civic
officials, artistic or
institutional collaborators,
presenters, distributors,
members of the press—
who have the ability
to change the future
of an organization
and require special,
ongoing cultivation and
stewardship. The addition
or loss of these individuals
from the institutional
family has a significant,
bottom-line impact.
If programming is bold and marketing
aggressive, the number of people who want to
support the cycle-driven organization—through
patronage, time, and contributions—grows
organically.
This family’s purchasing power provides a healthy
base of earned income; its generosity anchors
and strengthens the fundraising effort. Managed
with care, this family grows one by one, week
by week, month by month, season by season—
incrementally increasing revenue and capacity
over time.
For this reason, “family” is more than a polite
pseudonym for “donor” or “buyer.” It is a
strategy for incremental, sustainable growth.
Well-informed families are an indispensable
marketing tool. Managers who understand
the power of an educated family develop a
“patter”—a rotating menu of future projects,
initiatives, and events—to excite and focus
these critical players. (Artistic and institutional
marketing plans populate this campaign.)
This rolling “talking points memo” turns
family members into enthusiastic, effective
ambassadors. Excitement refined by patter is
indispensable “social media.”
The heart of a generous family—and a
manager’s most important fundraising tool—is
a joyous, engaged, and excited board. For
this reason, family-centered managers ensure
that serving on their boards is productive and
fun. They recognize that trustees are not only
uncompensated volunteers who are expected to
contribute, but that any community offers them
myriad organizations in which to perform this
generous role. Therefore, they compete hard for
the loyalty and attention of these precious family
members. If our meetings—one environment
under our control—are droll and procedural, we
put ourselves at an unnecessary disadvantage. A
brief performance, special guest, or discussion
of a new artistic venture goes a long way toward
reminding them why they sacrifice time and
resource on our behalf.
Board members’ primary reward is a feeling of
importance to the success of an organization
they revere. Too often, capacity-strapped
managers come to regard “The Board” as an
homogenous whole with uniform interests and
assets. In reality, each individual has their own
motivation for involvement; each seeks a unique
blend of experiences from their exchange with
the organization. The manager who understands
this works hard to connect each member with a
specific, mission-driven project that reflects their
interests and priorities. (This demands a multiyear
portfolio of projects, both artistic and institutional,
seeking support.)
These managers then work to provide each
member with a real stake in their project’s success.
The member is given reasonable jurisdiction in
non-artistic matters; they report on project status
at each meeting; they are supported in their effort
to engage their friends and associates; and, at
completion, they are publicly aligned with the
project’s success. This produces a vital sense of
belonging, ownership, and pride in the life of the
organization. This is the definition of engagement.
12 | Building and Engaging the Family
Building and
Engaging the Family
On the contrary, discouraged board members—
depressed by moribund meetings, a lackluster
production, a scary ledger, rushed campaigns, or
unresponsive staff—find no shortage of reasons
to disengage. The best counter to a dispirited,
unproductive board is a renewed commitment
to planning and a robust institutional marketing
campaign. This union will go a long way toward
resetting perspective and laying the groundwork
for reengagement.
Family-centered managers understand that
multifaceted, multitalented members often
have more than one gift to give. Unproductive
members are sometimes bored members;
after years of being asked to perform only one
role—plan galas, review contracts, or authorize
budgets—they have simply tired of their
relationship with the organization. By engaging
another of their interests—to help bridge a new
institutional alliance, evaluate a program, or
participate on a strategic planning committee, for
instance—the effective manager opens another
door into the life of the organization. Asking
board members to flex a different muscle to
advance the organization furthers the chances of
reengagement.
Effective managers take equal care to market
a sense of belonging and importance among
volunteers. A corps of energized, trained volunteers
can make the difference between a project
that breaks even and one that does not; proud,
equipped volunteers can ensure a positive patron
experience in areas that staff capacity cannot reach.
This is especially the case today, as more and more
institutions engage unpaid volunteers (or interns) to
fill roles previously performed by staff.
Lastly, successful managers do not overlook
the role that subscribers, members, and ticketbuyers
play in an evolving, diversified family.
Well-marketed, exciting art increases the pool of
energized participants at performances, events,
and auxiliary activities. In the short-term, this
participation provides important earned income.
Goodwill produced by a positive experience
forms the basis of future, more generous
relationships. The efficient manager sees in
each ticket-buyer a potential subscriber; in each
subscriber, a potential member; in each member,
a future donor.
Effective managers make a special effort to
excite these valuable family members with
institutional marketing; incentivize increased
involvement (as volunteers or contributors);
encourage them to get their friends involved;
present ample opportunities for them to selfidentify
at higher levels of engagement; and
make giving easy. (It is bewildering how truly
difficult it is to get involved and stay involved
with certain organizations.)
An informed, joyous, rewarded family is likely to
be productive, ambassadorial, and generous.
Managers who perfect the business of creating
and promoting joy among this group of
supporters are rewarded as the capital—human
and financial—around their mission continues to
swell. In cycle-driven organizations, joy itself is a
strategy.
Building and Engaging the Family | 13
Family
An energized, enthusiastic
group of ticket-buyers,
members, donors,
trustees and volunteers
that anchors an
organization’s financial
health through its
commitment of time,
talent, connections, and
financial resources.
14 | Incremental Fundraising
Incremental Fundraising
Effective fundraising simply pairs each family
member with a logical, financial action in support
of the organization’s mission.
Sustainable organizations dedicate themselves
to building families incrementally—one at a time,
volunteer by volunteer, donor by donor, trustee
by trustee—in sync with their programmatic
ambition. They plan large, daunting projects well
in advance; they identify and cultivate new family
members to support the expanded vision along
a feasible, if ambitious, time frame. This type of
incremental growth limits the risk and fear that
result when scale outstrips capacity. This type of
growth is the definition of sustainability.
Armed with long-term artistic plans, efficient
fundraisers engage each prospect in open
dialogue about which projects interest her or
him the most. Rather than make an urgent plea
for support of the next, most needy program,
they come to each potential donor prepared to
listen, not coerce. The manager with a “menu”
of options for investment maximizes the chance
of finding the right, even logical, opportunity
for each donor and, once that interest has been
identified, simply asks: “How can we get you
involved in this program?”
On the other hand, fundraising by brute force—
where rushed managers and trustees pressure
friends to support an underfunded program in
which the prospect has little interest—is rarely
productive or sustainable. (Nor is it much fun.)
Managers who understand the power of cyclical,
incremental fundraising leverage the power of
institutional marketing and time their “ask” to
coincide with peaks in enthusiasm created by
great art and exciting auxiliary programming.
They understand that people give to causes by
which they feel energized and excited and work
hard to maintain that environment.
Effective fundraisers make it easy for donors to
participate at a level that feels right and craft
benefits—both tangible and intangible—at
tiered levels to recognize escalating stages of
giving. Their benefits are inexpensive and easy to
produce. (For instance, one attractive benefit that
costs nothing to offer is the privilege to purchase
tickets to popular attractions in advance.)
Managers who promise expensive, labor-intensive
perks they cannot deliver will find that donors
accustomed to greater levels of customer service
will disappear from their rosters.
Effective fundraisers also recognize that
donor interests vary. They use programmatic
and institutional marketing assets to build
opportunities that appeal to multiple donor
mentalities:
•	 Our favorite donors identify with our mission,
programs, and art and want to see us
succeed, simply because they believe in what
we do. These donors seek opportunities
to engage with the process and people
behind our programs: our artistic directors,
curators, artists, students, and collaborators;
our rehearsals, master classes, season
announcements, readings, creative meetings,
and performances.
•	 Others seek access, through us, to otherwise
unattainable people, experiences, places, or
objects. Effective managers constantly replenish
an inventory of assets to which donors can gain
access through support of their organizations.
These include their board members, power
brokers, experts, or celebrities; special
collections, archives, or performance ephemera;
unique spaces (theirs or others), board
members’ homes, backstage, etc.
Incremental Fundraising | 15
•	 Other donors want exciting social interaction—a
place to go again and again, to see the same
people in a comfortable environment, to
find companionship, or to develop personal
or professional interests. Organizations with
physical spaces and regular programming are
best equipped to service this mentality. But,
even a touring dance company can partner with
a cultural center in its hometown to provide
an ongoing and mutually beneficial series of
workshops, master classes, salons, and other
activities that accomplish this purpose.
•	 Still others wish to affiliate with organizations of
prestige, defined by the caliber, quality, visibility,
and scale of the programs, people, and talent
they attract. These donors seek personal status
through recognition among groups of peers with
whom they share social or professional interests.
Once a gift is secured, effective fundraisers
quickly turn to stewardship. They ensure that
their organizations properly recognize the gift,
fulfill promises made during cultivation, and
return the donor to an enjoyable cycle of artistic
and marketing efforts. This begins the process of
renewing the gift: of progressively engaging and
informing the donor, and ultimately identifying
the next good fit.
No matter how large the organization or its
capacity, however, the pressure to renew and
expand one’s family never subsides. This is
because, fundamentally, the gap between the
cost of performing one’s mission and what
buyers are willing to pay to experience it grows
wider each year.
While the cost of doing business in the arts
increases yearly, our productivity—the time
and human resource required to get the job
done—stays roughly the same. In point: Mahler’s
Symphony No. 5 still takes just about 70 minutes
and 103 musicians to perform, the same as when
it premiered in 1904, even though the cost of
employing those musicians and producing the
work has increased exponentially.
For years, governments and corporations helped
close this gap. While government and corporate
giving officers remain important members in
many families, for all but a few these sources
are now marginal. Even where they remain,
managers know their future is unpredictable and
presents no basis for sustainable growth.
Nor does reliance on foundations, whose giving
focus and capacity is subject to frequent and
dramatic change. When an economy suffers, so
do the endowments that determine their giving.
Loyal program officers change jobs. Giving
priorities change. And once an organization
has approached all institutions that fund its
type of activity, there is nowhere else to turn.
While managers must work hard to cultivate and
retain these influential family members, for all
but the youngest organizations, support from
foundations presents little room for growth.
Consequently, arts managers must be creative
and constant about building a diverse family of
individual supporters who expand their ranks year
after year. While it is true that in most communities
there are a few, highly-visible, sought-after
donors, there are literally hundreds or thousands
more within range of an enthusiastic family
backed by an effective institutional marketing
campaign. Too many organizations depend on
too few donors and suffer disproportionately
when even one loses the interest or ability to
give. On the other hand, those that build robust,
diverse families can comfortably, if regrettably,
say good-bye to any individual if he or she can no
longer give (or becomes a nuisance).
The manager who plans art well in advance,
markets aggressively—especially among key
game changers—and cultivates joy and ease
among family will enjoy incremental, organic,
sustainable growth year after year.
At year-end, rather than crisis, the successful
manager faces another critical decision: how and
where to reinvest.
Incremental
Fundraising
A strategy for sustainable
growth that joins longterm
artistic goals,
an energized family,
and logical options for
investment to build
organizational resources
donor by donor, week by
week, month by month,
year by year.
16 | controlling Cost, ReInvesting, Building Capacity
controlling Cost,
ReInvesting,
Building Capacity
Of course, creating great art and marketing it
aggressively will not alone ensure sustained
success. One must also control cost, reinvest
wisely, and build capacity in sync with the scale
of one’s ambition.
All great artists are insatiable dreamers (as are all
great managers). Our nature is to produce more,
bigger, better art, year after year. And this is as it
should be.
But, for this reason, nearly every organization
grows to the point where it is financially
uncomfortable. A new $50,000 grant rarely
translates into a financial reprieve; more often, it
means a new $50,000 (or $75,000 or $100,000)
program that requires even more funding and
capacity to continue year after year. (A related
phenomenon belies the endowment fantasy:
rather than turning that first distribution into
a rainy-day fund or cash buffer, the dreamerartist-manager
complex typically expands
programming expense by exactly the same
increment.) The next year, the battle for a
balanced budget begins anew.
Therefore, the responsible manager must
differentiate between our nature as dreamers
and our job to dream sustainably. Artistic plans
must be tied to realistic marketing plans that
estimate the earned income potential of each
venture. Artistic directors, executives, and
boards must accept the financial implications of
each artistic decision. Organizational capacity
to absorb failure must parallel artistic risk. (We
suggest budgeting for one or two failures each
year.) Fundraising goals must close the gap
between earned income and cost projections.
Throughout each season, effective managers
regularly correct for aberrations from this
plan. Mid-course cuts to “backstage” and
administrative budgets must account for a
lackluster appeal, underperforming campaign, or
poor sales run.
We all know that arts managers are ruthlessly
efficient and that few organizations in distress
face an expense-side problem. (More often,
they have failed to develop adequate income.)
It is in our nature to relentlessly control cost,
actively negotiate with vendors, and reward
parsimonious staff who find creative ways to save
without harming the art. But it bears repeating
that, especially in capacity-strapped, growing
organizations, there is no room to waste a single
dollar, hour, opportunity, or iota of goodwill. If
one can accomplish a task for less and doesn’t,
one reduces the resources available to support
projects that help achieve one’s mission.
All managers must perfect this balance of
dreaming big, curtailing cost, maximizing sales,
and capitalizing on “familial” goodwill.
Finally, most successful, growing organizations
will require additional manpower to match
the increasing scale of their work. Strategic
capacity-building as part of the reinvestment
process should focus first on increasing revenueproducing
potential. Organizations struggling to
pay for existing, successful programming rarely
Controlling Cost, ReInvesting, Building Capacity | 17
The (anNotated) Cycle
Programmatic
Cost Control
Institutional
Building
Capacity
Fundraising
need additional programming manpower more
than they need more flexible, ample capacity
to promote that programming among potential
buyers and donors. While the production of
great art must remain the overarching priority,
before an organization can dramatically expand
the scope or scale of that art, it must increase
the financial margin on its current success so that
new, more ambitious art can be made, marketed,
and capitalized with equal quality and success.
Adding staff is rarely financially comfortable
in the short-term, especially for early-career
organizations. However, a long-term shortage
of professional staff can drain even the most
ambitious, hardscrabble artistic entrepreneur.
Therefore—lacking a dedicated grant for
building staff capacity—a balance must be
struck between relying so heavily on so few that
the operation fails to deliver on its mission and
taking an unsustainable plunge.
An incremental approach to building staff
capacity—in line with commensurate increases
in family, resources, and programming—will add
manpower in stages. A part-time grant writer—
armed with a long-term artistic plan; a dedicated,
ambassadorial board; and a robust, creative,
and cost-effective institutional marketing plan—
will quickly pay for himself. Before long, he is
working full-time and organizational attention
can turn to part-time marketing assistance
focused on converting marginal buyers into
regular ticket-buyers and subscribers.
In the end, this enhanced capacity to produce
a margin on successful art strengthens the
operation on all fronts. Disciplined, incremental
growth in capacity—after artistic obligations have
been fulfilled—is a natural evolution of cyclical
success.
$
Family
Great Art
Aggressive
Marketing
18 | Conclusion
Conclusion
This model—the cycle—presents a theory,
founded in observation and practice, of how
to build an organization into a sustainable
institution, donor by donor, day by day, season
by season. At its heart is a dedication to, and
dependence upon, long-term planning.
We understand that this will not come easily for all
organizations. For many, the process of beginning
to plan multiple seasons in advance will itself be
a multiseason effort. It will take time to transition
from a six-month plan to one that extends a year
or two in advance. In some cases, it may take
several seasons before an organization develops
the capacity to produce a true five-year plan.
Because planning requires an investment of time
and energy, some will argue that the process is,
in itself, an unwelcome drain on limited capacity.
Skeptics cite an industry fraught with constant
change and argue that long-term planning is
neither practical nor expedient. But to these critics
we respectfully respond: if we do not plan, we
cannot grow. Our business is just too complex, too
expensive, and too dependent on others to create
the best art, with the best outcomes, in a rush.
And when we talk about building capacity—this
is where that process starts. The organization
that fails to plan is the organization that goes on
suffering the most from fatigue, poor morale,
disengagement, and chaos. (Sadly, even
organizations that produce great art are not
exempt from this rule.) On the other hand, the
organization that starts to think out 18, 24, 36
months further in advance gives itself the luxury
of time required to build toward bigger art—
including the time to hire, train, and pay for that
extra staff member to get it done well.
We do not hide the fact that this kind of planning
may require a meaningful change in habit and
priority. It takes dedication and focus to dedicate
time to focus on planning, especially with
vendors knocking at the door, staff out sick, final
reports due, the opening next week, and so on.
But we also believe that this process of planning
our art, marketing, and fundraising further and
further in advance must start before an organization
can truly begin upon the path to institutionalization.
It must become, in a very real sense, a way of life
for the organization and the people who run it.
In the end, this cycle—including its process of
containing cost, building capacity, and reinvesting
wisely—is our best buffer against the latent crises
waiting patiently at our door. We all know too
well that our industries are volatile, that most
organizations are a single bad season, or single
unsuccessful production, away from crisis. These
principles are designed to protect the artistic
process—and the people who make that process
possible—from the fear and instability that deplete
our ranks and dilute the potency of our work.
But, don’t take our word for it. Take another
close look at the cultural organizations in your
city—large and small—that are thriving: that are
the talk of the town, grow year after year, and
seem to constantly surprise with their ingenuity,
style, quality, and grace. We will wager that
each one of them regularly produces bold,
exciting, transformational art; that they market
that art, and the institution behind it, creatively
and consistently; that the number of people
surrounding them, wanting them to succeed,
expands day by day; and that, when it comes
time to spend the resources produced by that
family, they stay focused on their mission and put
it toward even more great art.
That joyous picture is the cycle in action.
Michael M. Kaiser is President of the John F. Kennedy Center for the Performing Arts. He has expanded the educational
and artistic programming for the nation’s center for the performing arts and has overseen a major renovation effort of
most of the Center’s theaters. Dubbed “the Turnaround King” for his work at numerous institutions, including the Royal
Opera House (London), American Ballet Theatre, Alvin Ailey American Dance Theater, and the Kansas City Ballet, Michael
has earned international renown for his expertise in arts management. He advises performing arts organizations around
the world, working with arts leaders in nearly 70 countries. Upon joining the Kennedy Center in 2001, Michael created the
Kennedy Center Arts Management Institute, renamed the DeVos Institute of Arts Management at the Kennedy Center
after a $22.5 million commitment from Dick and Betsy DeVos, which aims to train the current and next generation of
arts leaders. The Institute features a variety of initiatives and programs, including an online education forum for arts
administrators at artsmanager.org, where professionals and students in the field can share experiences, seek employment,
and post opportunities. He founded Arts in Crisis: A Kennedy Center Initiative in February 2009, and embarked on a
50-state tour to spread his arts expertise across the United States.
Brett Egan is Director of the DeVos Institute of Arts Management at the Kennedy Center. In this capacity, Egan leads the
Institute’s team of consultants and teachers in two national capacity building programs as part of the Ford Foundation’s
Space for Change initiative; regional capacity building programs in seven American cities; international arts management
fellowships for 37 participants from 28 countries; a nine-month fellowship for mid-career North American arts executives;
international arts management symposia; and long-term consultancies with organizations, agencies, and municipalities in
the United States and abroad.
For more information about the DeVos Institute of Arts Management at the Kennedy Center,
please visit:
DeVosInstitute.org
Copyright ©2011 The John F. Kennedy Center for the Performing Arts
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Published by
The John F. Kennedy Center for the Performing Arts
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