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ALVIN H. REISS
408 West 57th Street
New York, New York 10019
(212) 245-3850
SUCCESSFUL ARTS PARTNERSHIP WITH BUSINESS
Outline for a seminar
The arts have become a commodity of growing importance
to business in recent years, helping corporations not only
to bolster their image but to tap new markets, promote their
products and serve their employees. some arts groups underplay
their value to business in their eagerness to win business
support, however, and they sometimes receive much less than
they're giving. This seminar, using illustrated examples of
recent business/arts relationships, will suggest tactics
and strategies for winning corporate funding and promotional
support and for developing marketing tie-ins on the arts
group's own terms.
Member of the Authors League of America and American Society of Journalists & Authors
ALVIN H. REISS
408 West 57th Street
New York, New York 10019
(212) 245-3850
Alvin H. Reiss: Lectures and Seminars
January-May 1989
VERY SPECIAL ARTS. Day and a half seminar on funding and
marketing for VSA state directors and board members from states
east of the Mississippi. New Orleans, LA. January 20-21
CITY OF RIVERSIDE, CA. Luncheon speech to community arts and
business leaders. Meetings with mayor and others to discuss
development of a cultural center. Riverside, CA. February 10.
WILKES ART GALLERY. Evening and day seminar for board members.
Staff consultation. North Wilkesboro, NC. February 17-18
KIWANIS CLUB OF NORTH WILKESBORO. Luncheon speech, "Business and
the arts."North Wilkesboro, NC. February 17.
AUSTRALIAN LECTURE-SEMINAR TOUR, March 15- March 3l.
VICTORIAN MINISTRY FOR THE ARTS. Seminar, "Arts Board Membership:
Contribution/Challenge/Opportunity," Melbourne. March 20.
-Seminar, "Business and the Arts: Creative Corporate
Connections," Melbourne. March 20.
(Note: Meetings with arts leaders held, March 17-19. Melbourne.)
SOUTH AUSTRALIAN ARTS MINISTRY. Informal seminar with staff, on
arts trends and developments. Adelaide. March 21.
-Seminar, "Tourism and the Arts." Adelaide. March 21.
-Dinner talk. "Corporate Arts Involvement." Adelaide. March 21.
NEW SOUTH WALES ARTS MINISTRY. Informal meeting with staff.-
Meetings with planners of new Australian Business Supporters for
the Arts. Sydney, March 22.
AUSTRALIA COUNCIL. Seminar. "Tourism and the Arts." Sydney. March
23. Luncheon with local arts journalists. Sydney. March 23.
QUEENSLAND ARTS DIVISION, PREMIER'S DEPARTMENT. Seminar,
"Business and the Arts: Are You Getting as Much as You Give."
Brisbane. March 28.
AUSTRALIAN BUSINESS SUPPORTERS OF THE ARTS. Luncheon planning
meeting with organization's proposed leaders. Sydney. March 29.
NEW SOUTH WALES ARTS MINISTRY. Seminar. �?oRoles and
Responsibilities of Board Members." Sydney. March 29.
WESTERN AUSTRALIA DEPARTMENT FOR THE ARTS. Seminar. �?oArts
Development. Perth. March 30.
Member of the Authors League of America and American Society of Journalists & Authors
AUSTRALIA LECTURE/SEMINAR TOUR. (Continued)
CAPITA INSURANCE. Luncheon speech for business leaders. "The
Benefits of Business Sponsorship of the Arts." Perth. March 30.
SOUTH WEST DEVELOPMENT AUTHORITY. Luncheon speech for community
and business leaders. "The Importance of Supporting the Arts."
Bunbury. March 3l.
MARYMOUNT MANHATTAN COLLEGE. All-day Careers in Arts Management
seminar. New York City. April 15.
COLUMBIA GRADUATE SCHOOL OF JOURNALISM. Lecture and discussion on
"Writing About the Arts." New York City. April 18.
VIENNA, AUSTRIA SEMINAR PROGRAM. May 2-5.
as Recipient, 1989 International Management Club Award of
the Austrian Business League.
MANAGEMENT CLUB, AUSTRIAN BUSINESS LEAGUE. Luncheon speech.
"International Developments in Arts Sponsorship. Vienna. May 3.
-Seminar. "Arts Sponsorship as a Marketing Instrument." Vienna.
May 3.
FIRST BANK OF AUSTRIA. Panel Discussion. "The Museum of
Tomorrow." Vienna. May 3.
MANAGEMENT CLUB, AUSTRIAN BUSINESS LEAGUE. Seminar. "Management
of the Arts." Vienna. May 5.
GREATER PHILADELPHIA CULTURAL ALLIANCE. Seminar for small and
mid-sized groups on marketing and funding."No Stone Unturned:
Finding Funds for the Arts and Culture." Philadelphia. May 1l.
DELAWARE VALLEY GRANTMAKERS. Luncheon speech. "Successful
Partnerships for the Arts." Philadelphia. May ll.
GREATER PHILADELPHIA CULTURAL ALLIANCE. Seminar for arts groups
involved with corporate funding programs. Philadelphia. May ll.
Morning and afternoon seminars on arts support. Philadelphia,
PA. May 9.
CHAMBER OF COMMERCE, GREENVILLE, SC. Short speech to arts groups
on involving business in the arts. Greenville, SC. May 16.
-Seminar on marketing and funding the arts for local arts groups.
Greenville. May 17
-Luncheon speech. "How Business Benefits from Support of the
Arts," for chamber of commerce members and elected ee
Greenville. May 17.
-Orientation session for groups participating in new "Partners in
Arts Leadership" program. Greenville. May 17.
~Short talk at official launching of Partners in Arts Leadership.
Greenville. May 17.
408 West 57th Street
New York, N.Y. 10019
(212) 245-3850
ALVIN H. REISS - GENERAL BACKGROUND, 1989
PERSONAL
Arts Management, editor and publisher
Professional Arts Management Institute, director and co-sponsor
Related Arts Counsellors, executive director
Fund Raising Management Magazine, arts columnist
Marymount Manhattan College, director, arts management program
Management Review Magazine, columnist, nonprofit management
Non-profit oganizations and corporations, consultant-lecturer
PROFESSIONAL AND ORGANIZATIONAL
National Guild of Community Schools of the Arts, board member
Symphony for United Nations, international advisory council
Organization of Independent Artists, board member
Periwinkle Productions, board member
Univ.of Toronto, Scarborough, advisory council, arts admin. prog.
American Society of Journalists and Authors, (past exec. v.p.)
Music Critics Association; The Authors Guild
Arts & Business Council, (past v.p.)
BIOGRAPHICAL LISTINGS (partial)
Who's Who in the East
Who's Who in the United States
Who's Who in Consulting
International Authors and Writers Who's Who
International Who's Who of Contemporary Achievement
The Directory of Distinguished Americans
Community Leaders and Noteworthy Americans
International Who's Who in Community Service
World Who's Who of Authors
PAST
Philadelphia Colleges of the Arts, visiting professor, 1986-87
Adelphi Univ., director, Management of Arts Grad.Program, 1978-85
Monthly Arts Forum, WNYC radio, host and moderator, 1968-79
Museums New York, consulting editor, 1979-80
State Univ. of New York, visiting consultant on the arts, 1973-75
Arts and Business Technical Assistance Program, director, 1972-73
Amer. Council for Arts in Education, communications dir., 1972-74
Albert Dorne Memorial Foundation, program director, 1968-71
Cultural Affairs Magazine, columnist, business & arts, 1967-70
World of Dance, WNYC radio, co-host, 1965-68
New York State Council on the Arts, editor, newsletter, 1963-66
BOOKS
Cash-In! Funding & Promoting the Arts, Theatre Comm. Group, 1986
The Arts Management Reader, Marcel Dekker, Inc., 1979
Culture & Company, Twayne Publishers, 1972
The Arts Management Handbook, Law-Arts, 1970; revised ed. 1974
Author of several hundred articles, reports, studies
Reprinted from
AN AMERICAN MANAGEMENT ASSOCIATION PUBLICATION FOR MEMBERS
REVIEW
Business Jakes a Partner-
Business lakes a Partner-
The Arts
BY ALVIN REISS
ew York Tele-
phone placed a se-
ries of prominent
advertisements in
leading New York
City newspapers
this past Decem-
ber to proclaim an
unusual alliance.
As sole corporate
sponsor of �?oThe
Nutcracker,�?� it announced that the
company had initiated a unique part-
nership with the New York City
Ballet. During this same time
period, other major corporations
CIGNA Cos., National Westmin-
ster Bank, Philip Morris Cos., and
Chrysler Corp. among themalso
were using the media to publicize
their support of arts groups and
cultural events.
Yet, with all the attention fo-
cused on mergers, acquisitions, and
leveraged buyouts, this type of
emerging partnership has gone
virtually unnoticed by the business
press. Twenty years ago, these
types of partnerships were not in
full swing. But today many compa-
nies are finding that these alliances
can help them better market their
products, enhance public percep-
tion, and target key audiences. And
while corporate philanthropy does
Alvin H. Reiss, a writer, lecturer,
and consultant on the arts, is the
editor of Arts Management, direc-
tor of the Professional Arts Man-
agement Institute, and director of
the new Arts Management Certifi-
cate program at Marymount Man-
hattan College in New York City.
His most recent book is Cash In!
Funding and Promoting the Arts
(Theatre Communications Group,
1986).
Ballet Oklahoma convinced Holland America to become its official
cruise line. At the same time, the cruise line agreed to sponsor two of
the dance company�?Ts performances.
still exist, there are few companies
that aren�?Tt looking to relate such
giving to bottom-line objectives.
To the surprise of many in the
business world, much of the impe-
tus for these new relationships is
coming from an increasingly so-
phisticated arts community. These
organizations understand business
needs and know how to meet them
without sacrificing their own integ-
rity or changing their products.
Some of the results have been un-
usual as well as impressive. Ballet
Oklahoma, for example, headquar-
tered in landlocked Oklahoma City,
was able to convince Holland Amer-
ica Line to become its official cruise
line. With the help of a travel agent
board member, the dance company
pinpointed the cruise marketing po-
tential among its audience and won
accord for Holland America�?Ts des-
ignation as Ballet Oklahoma�?Ts offi-
cial sea carrier.
The outcome was Holland Amer-
ica�?Ts sponsorship of the dance com-
pany�?Ts opening performances in
both the 1987 and 1988 seasons;
cash donations from a participating
local travel agency of $100 for
every warm-water Holland Amer-
ica cruise booked by a Ballet Okla-
homa patron in the fall of 1987; a
barrage of publicity, including a vide-
otape showing ballet company prin-
cipals touring the ms Nieuw Am-
sterdam; and a �?~�?o�?~Ballet Cruise,�?��?T
featuring performances by com-
pany dancers aboard the same ship.
The response to the onboard per-
formance was so positiveit re-
ceived Holland America�?Ts highest
entertainment rating for the ship
JUNE 1989 41
Printed in U.S.A. © 1989 by Periodicals Division, American Management Association. All rights reserved.
BUSINESS AND THE ARTS
that yearthat company dancers
were invited back to perform on a
Noordam cruise this past February.
COURTING SPONSORS
GeVa, a Rochester, New York
theater, knew exactly where to
turn when it was looking for spon-
sors to underwrite performances
of its courtroom drama, �?oInherit
the Wind.�?T�?T What better place, rea-
soned the theater�?Ts marketing
staff, than the court itself, specifi-
cally the jury box, where 10 non-
speaking �?o�?~actors�?T�?T would perform
nightly. Invitations went out to law
firms and other businesses, request-
ing them to sponsor one perform-
ance. In return they would get rec-
ognition in all theater materials and
the opportunity to select 10 part-
ners or staff members to sit in the
jury box at the sponsored perform-
ance. Thirteen sponsorships, at
$1,000 each, were sold; and audi-
ences flocked to the theater, with
many perhaps drawn by the rare
prospect of seeing lawyers remain
silent in the courtroom.
Similarly, The Wharton Center
for Performing Arts at Michigan
State University invited local busi-
nesses that, it reasoned, benefited
from its performances to several
on-stage cocktail receptions this
past year. The invitations were
worded with a pragmatic come-on:
�?oYou will be presented with ideas
for increasing your business on the
nights of Wharton Center events.
There is plenty of room for your
establishment to share in the
wealth.�?��?T
The receptions, held in January
and September 1988, each drew
more than 90 guests and continue
to reap benefits for the arts center.
Restaurateurs have purchased bulk
tickets for their patrons, promoted
Center productions in their ads,
and developed a range of perform-
ance tie-ins.
When an arts�?T organization
makes itself vital to its community,
as the Alabama Shakespeare Festi-
val in Montgomery has, business
is often eager to form an alliance.
Not only has the Festival been
pictured on the cover of South Cen-
tral Bell�?Ts phone directory, but
Montgomery�?Ts Coca-Cola Bottling
Company has featured 12 million
coupons on bottles and displays in
hundreds of area stores promoting
discounted Festival ticket offers.
As relationships between busi-
nesses and arts groups continue
to develop, corporations are find-
ing new ways to utilize one of the
strongest arts resources: the high-
quality audiences cultural pro-
grams attract. Thus, when Chase
Manhattan Bank, a longtime arts
supporter, decided to underwrite a
special 50th anniversary exhibition
at the Guggenheim Museum in
More and more companies are bringing artists and other performers
into their corporate headquarters. Above, employees of Louisville,
Kentucky-based Philip Morris enjoy an informal performance by an
actress sponsored by The General Electric Foundation.
New York, it tied its support to the
use of Chase bank cards. At the
bottom of ads promoting the ex-
hibit was a bold headline reading,
�?oThe cultural advantages of bank-
ing at Chase.�?T�?T Additional copy in-
formed readers that upon presen-
tation of any Chase bank cards,
they would be admitted free to the
exhibition.
While corporations know their
needs, arts groups are getting to
know them too and have learned
how to target their requests for
support to those needs. For exam-
ple, Milwaukee�?Ts Skylight Opera
Company knows that many poten-
tial corporate supporters like to tie
sponsorships to employee relations
programs. So it developed a port-
able performance project, offer-
ing sponsors in-house miniperfor-
mances featuring several singers
and a pianist. To entice Marquette
Electronics to commit to under-
write the opera company�?Ts 1987
production of �?~�?oWorking,�?� it went a
step further. It brought an ex-
cerpted version of the full musical
productionwith the entire cast
to the electronics firm�?Ts plant.
BENEFITS PACKAGES:
A CREATIVE DRAW
Many arts groups that regularly
solicit corporate sponsors offer
their supporters an overall benefits
package, which can be expanded
if the sponsorship is significant
enough. New York City�?Ts Museum
of American Folk Art, for example,
extends to corporate sponsors such
overall benefits as prominent dis-
play of the sponsor�?Ts name in all
exhibition-related materials; full-
page catalog acknowledgment; cre-
dit line in all exhibition corre-
spondence, including press re-
leases; a private reception for top
executives and their guests; free
admission for all employees; a pri-
vate viewing for executives and
their families; and corporate mem-
bership in the museum.
Some corporate benefits are
even more visible. Theatergoers
who congregate in the Gallery Bar
between acts of a South Coast Rep-
ertory performance in Costa Mesa,
California, are surrounded by re-
minders of business support. The
oval bar, a popular spot during in-
42 MANAGEMENT REVIEW
termissions, is lined by a circle of
burnt-orange directors�?T chairs,
each outlined in white letters with
the prominent name of a theater
supporter. These include Ameri-
can Express Co. and the Boston
Company.
CHALLENGES TO OVERCOME
Wooing and winning a corporate
sponsor isn�?Tt always simple. The
Brooklyn Academy of Music (BAM)
was having difficulty finding sup-
port for this past summer�?Ts series
of performances by avant-gardedan-
Relations Journal.
The print campaign highlighted
examples of previous corporate
sponsorships. For example, one ad
featuring a pianist in performance
was headlined �?~�?oWe Gave Xerox an
Original�?� and taglined �?o�?~We Make
Corporate Performance an Art.�?�
The print effort was backed up by
a direct mail campaign to corpora-
tions, advertising agencies, and pub-
lic relations representatives. The
arts group also took its case di-
rectly to the public by exhibiting at
trade shows and participating in
When an arts organization makes itself vital
to its community, business is often eager
to form an alliance. |
cer Pina Bausch and her company.
Since the Bausch company is based
in the Ruhr Valley in Wuppertal,
Germany, the enterprising arts cen-
ter turned to Lufthansa for sup-
port. In the midst of complex
negotiationsBAM was seeking
$75,000 to cover the cost of trans-
porting both giant sets and the com-
pany to Brooklynthere was a
change in the airline�?Ts key person-
nel. As a result, concern about the
promotional benefits Lufthansa
would receive in return for its sup-
port was heightened. BAM had to
come up with a somewhat altered
package, including greater expo-
sure at the opening night party and
a larger allotment of performance
tickets.
One arts group that has made a
science of creating corporate spon-
sorship opportunitiesis Affiliate Art-
ists Inc. (AAI), a 22-year-old New
York City-based organization that
develops new career opportunities
for performing artists. Beginning
in 1985, AAIlwhose sponsors
have included General Electric Co.,
Nissan Motor Co., and Montgom-
ery Ward & Co.decided to accel-
erate its already aggressive cam-
paign for corporate support. Dig-
ging up $50,000, a giant budget
for a nonprofit arts group, AAI
placed ads designed to attract cor-
porate backers in such business pub-
lications as Fortune and Public
conferences for meeting and con-
vention planners.
The campaign began to pay off
with hundreds of new leads and
an increase in appointments to dis-
cuss sponsorships from about one a
week to an average of six a week.
Within a year, six major new corpo-
rate sponsorships developed, all di-
rectly traceable to the promotional
effort; and by the end of 1988,
some 12 more were added.
Turning its attention to special-
events marketing, Affiliate Artists
delivered its case for support at a
growing number of conferences
and through a specially developed
slide show that has since been pre-
sented at Public Relations Society
of America meetings throughout
the country. A presentation and
reception AAI gave at an Interna-
tional Events Marketing Confer-
ence led to more than 100 new
corporate contacts. Feature stories
on AAI�?Ts sponsorship program also
appeared in The Wall Street Jour-
nal, Advertising Age, Medical Meet-
ings, and Automotive News.
But despite having caught the
attention of a vast number of po-
tential sponsors, Affiliate Artists
isn�?Tt resting its case. Instead, it has
expanded its program to include
such corporate sponsorship activi-
ties as artist residencies, meeting
and convention entertainment, and
special events. �?~�?~We�?Tre unique in
JUNE 1989 43
oa
that we found a way to create cul-
tural programmingoften called
special events and event market-
ingthat advances the careers of
gifted artists, brings audiences to
the arts, and helps corporate spon-
sors meet their marketing and pub-
lic relations objectives,�?��?T said Rich-
ard C. Clark, founder and president
of Affiliate Artists. �?o�?oOver 125,000
custom-designed events have
helped enhance corporate images,
introduce new products, reposition
consumer brands, and even open
new factory sites,�?� he said.
NATIONAL/STATE GROUPS
LEND A HAND
Over the years national or-
ganizations with one foot in the
business camp and the other in the
arts camp have helped arts groups
win business support. In recent
years both the Business Commit-
tee for the Arts and the Arts &
Business Council have expanded
their scope to promote business
support of the arts and spur execu-
tives to directly participate in cul-
tural organizations�?T activities.
The Business Committee for the
Arts (BCA) grew out of a 1966
proposal by David Rockefeller and
presently comprises a national of-
fice in New York City and 13 affili-
ates around the country. Through
conferences, publications, and in-
formation services, BCA has been
a strong force in espousing general
Richard Clark, Affiliate Artists:
�?oCultural programming advances
the careers of gifted artists, brings
audiences to the arts, and helps
corporate sponsors meet market-
ing objectives.�?�
arts support and targeting specific
areas of arts activity where greater
business involvement is needed.
Arts education is one area of in-
volvement it singled out this past
year.
The New York City-based Arts
& Business Council has developed
a pioneering Business Volunteers
for the Arts (BVA) program, which
took unusual action on one festival
day. They replaced items in their
store windows with art works pro-
vided by the Upper Catskills Com-
munity Council of the Arts.
BRIGHT FUTURE AHEAD
The future of the business-arts
partnership seems bright, even in
the face of growing economic pres-
The involvement of upwardly mobile execu-
tives in the activities of local arts groups has
stimulated continuing corporate support
of those groups.
is spreading throughout the coun-
try. At last count there were some
30 BVA programs up and running,
with a total of 62 set to be opera-
tional by the end of 1989. This
project trains young business ex-
ecutives in the operations of arts
organizations and then assigns
them as volunteers to arts groups
in need of their specific skills.
The personal involvement of up-
wardly mobile executives in the ac-
tivities of local arts groups has
helped stimulate new and continu-
ing corporate support of those
groups.
State programs, many focused
on smaller communities, also have
served to reinforce the arts-
business relationship. Vermont,
through its state arts agency, re-
cently launched a business-arts part-
nership program to boost joint pro-
jects at the grass roots level.
In New York State, a model pro-
gram set up by the national Presi-
dent�?Ts Committee on the Arts and
the Humanities and the Alliance of
New York State Arts Councils in
1985 to foster partnerships be-
tween corporations and local arts
groups has brought some impres-
sive resultsincluding help in pro-
moting and funding local arts festi-
vals. For example, in Glens Falls,
the Post Star published an entire
supplement on the Lower Adiron-
dack Regional Arts Council�?Ts festi-
val; while in Oneonta, thanks to the
Downtown Retail Merchants Asso-
ciation, merchants not only con-
tributed money and goods but also
sures. Businesses have come to
recognize the importance of a good
cultural climate for their employ-
ees, customers, communities, and
themselves. Moreover, if the crea-
tivity shown by arts groups in fur-
thering the partnership is any indi-
cation, continued growth is ahead.
Consider the ingenuity displayed
by the Palace Theatre in Cleve-
land�?Ts Playhouse Square Center sey-
eral years ago in finding a sponsor
for �?oPump Boysand Dinettes�?T�?T: Any-
one driving into a Sohio service
station during the show�?Ts run re-
ceived a coupon worth $1.00 off
the cost of a ticket to the show.
Theatergoers also received a cou-
pon courtesy of Sohio inviting them
to �?~�?~See the �?~Pump Boys�?T at Sohio�?��?T
and save $1.00 at the pump.
When Philadelphia�?Ts Walnut
Street Theatre Company was plan-
ning its 1988 production of �?o�?~Guys
and Dolls,�?T the theater�?Ts promo-
tion manager came up witha clever
way of linking one of the musical�?Ts
hit numbers with furrier Jacques
Ferber, one of the theater�?Ts busi-
ness supporters. In the lobby of the
theater a large sign reading �?~�?~La-
dies Take Back Your Mink�?T�?��?T ex-
plained that ticketholders would re-
ceive free cleaning and beautifica-
tion of their mink coats.
But all arts creativity isn�?Tt on the
stage. As business has discovered,
a lot of it takes place behind the
scenes. After all, one can be
an entrepreneur in the arts as well
as in business. 0
44 MANAGEMENT REVIEW
AWA.
ALVIN H. REISS
408 West 57th Street
New York, New York 10019
(212) 245-3850
7, 1989
Mr. Mark R. Sumner
Director
Institute of Oytdoor Drama
Campus Box 3240
Graham Memorial Building
UNC-CH
Chapel Hill, NC
a
)
Dear Warks
It was:good to speak to you again today and I'm
delighted that I'll be participating in your upcoming
annual conference. As we distussed I'll present a
seminar program on winning business support on Saturday,
October 2lst and I'll plan to arrive late Friday and
stay until Sunday morning. You indicated that I'd be
paid a fee of $1,000 plus all expenses.
Enclosed is biographical data which you requested
and a recent photo. Also included is a copy of my recent
article from Management Review on business and the arts
and a copy of my recent schedule to indicate the kinds of
programs I've been presenting in the U.S. and overseas.
I've included a flier as well on my most recent
book, Cash In! Funding and Promoting the Arts in case
you might wish to make it available to the attendees,
as a number of conferences I've spoken at have done.
Books can be ordered in bulk on consignment at a discount
of up to 40% just in case you're interested. Terry Nemeth
at Theatre Communications Group, my publisher, (212)
697-5230 can provide the details if you wish to follow up
on this.
I'm looking forward to the conference and to seeing
you again. I*ll also look forward to receiving confirmation
of these arragements at your earliest convenience.
Sincerely,
J
\/ hi :? \ //
(Lc \ y / 9 AsSe-22_
Alvin H.�?� Reiss
G
() od
i �?~ 2
ys �?o sy C O \ A Le
¢ Spee Oe y/ a (57. 2 2. -
Member of the Authors League of America and American Society of Journalists & Authors
CASH IN!
FUNDING AND PROMOTING
THE ARTS
ALVIN H. REISS
CASH IN!
A compendium of imaginative
new concepts, tested ideas and case
histories of programs and promotions
that make money and win audiences.
the rock of increasing expenses and the hard place of lim-
ited earnings potential, with no financial cavalry to the
rescue. These obstacles can be overcome by expanding beyond
traditional sources of income, and by developing creative ap-
proaches to fund-raising and promotion that can open up whole
new worlds of opportunity.
M any arts groups today find themselves pressed between
Cash In! Funding and Promoting the Arts opens the door to these
new possibilities, offering a wealth of imaginative ideas for
fund-raising and promotion that have been successfully used by
theatres, symphony orchestras, opera and dance companies,
museums and other groups involved in all the arts. This unique
compendium of bright ideas and fresh approaches will stimu-
late creative thinking, and will serve as an excellent resource for
planning and practical advice on fund-raising goals for per-
forming arts organizations of any size. The book emphasizes
sharing ideas among colleagues in the arts, and utilizing tried
and true strategies without having to learn them the hard way.
Not just another how-to book, Cash In! is a breath of fresh air,
an open window on the creative possibilities inherent in the
fund-raising challenge. An indispensable tool for everyone in-
volved in arts fund-raising: development directors, marketing
directors, public relations people, guild presidents, board
members and volunteers.
Contents
. Who Are You, What Are You Selling and Why Should
Anyone Want to Give You Money?
The Artistic Viewpoint; Promoting the Product; Selling an
Experience; Emphasizing Uniqueness; Logos; Posters; Visual
Aids; Slogans; The Outside Envelope; Promotional Campaigns
. It�?Ts an Inside Job
The Board of Directors; What a Board Member Gets; What a
Board Member Gives; Recruiting Members and Donors;
Attracting Volunteers and Subscribers
. Whose Public Is This, Anyway?
College Students; Families; Children; The Office and
Blue-Collar Worker; Doctors; Young Professionals; Sports Fans;
Government Officials and Other On-Target Audiences
. Whose Business Do You Want?
The Don�?Tts of Corporate Solicitation; What to Ask for;
Profit-Sharing; The Business-Sponsored Party; Invitations to
Executives; Corporate Membership and Sponsorship; Logical
Tie-Ins
. It Pays to Advertise, Especially If Someone Else Pays
Public Service Campaigns; Free Advertising Opportunities; The
Print Media; Business Marketing Tie-Ins; The Broadcast Media;
Arts Advertising Concepts
. Don�?Tt Just Applaud, Send Money: Direct Mail
Originality; Non-Traditional Approaches; Letter Inserts;
Involving the Recipient; How the Money Will Be Used; Test
Mailings; Non-Invitations; Mailing Lists and Computerization;
Telemarketing
. At Your Place or Mine? The Fund-Raising Event
Celebrity Attendance; The Event Theme; The Elegant Event;
Business Sponsorship; The Artistic Benefit; Putting the Benefit
Together
; Game or Gamble? Why Not Both?
Raffles; Food-Oriented Raffles; The One-of-a-Kind Prize;
Extended Sweepstakes and Lotteries; Auctions; Broadcast
Marathons; Games and Contests
. More Ways to Skin a (Fat) Cat
The Celebrity Draw; Pledges for the Arts; Design for Funding;
The Sporting Touch
. Selling Trips: The Arts and Tourism
Tours and Cruises; Performing for Tourists; Personal Services;
Movie Premieres
. Where�?Ts the Beef? Or, Eat Your Art Out
Multiple Dinners; Dining with Celebrities; Wine and Spirits;
Restaurant Partnerships; High Fashion and the Arts
. Earned, Burned, Yearned and Spurned Income
Entrepreneurial Activities; Program-Related Income Activities;
Licensing; Items for Sale; Income from Facilities; Commercial
Productions
Epilogue: If the Sky�?Ts the Limit, Then Funding Can Be
HeavenlySome Outrageous Funding Suggestions
�?oYou will never again have an excuse for not
being able to create your own imaginative and
workable solution to your fund-raising situation
after reading Alvin Reiss's book Cash In!�?�
Fundraising Review
Order Form
Please send me copies of CASH IN! Funding and Promoting the Arts at
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Return to THEATRE COMMUNICATIONS GROUP, 355 LEXINGTON AVE.,
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About the Author
Alvin H. Reiss has played a major and innovative role in American cul-
tural development and. in the growing business-in-society movement.
Co-founder and editor of the first journal for cultural administrators,
Arts Management, he also edited and published the nation�?Ts first state arts
council newsletter for the New York State Council on the Arts.
Creator of the nation�?Ts first college course in arts management, Reiss
has developed courses at Adelphi and the New School for Social Re-
search and lectured at scores of universities. He is the director of the
Professional Arts Management Institute, the nation�?Ts oldest continuing
training program for cultural administrators. |
Reiss has written extensively on the arts and business for leading con-
sumer magazines. His book, Culture and Company, has been acclaimed
by critics as the �?odefinitive account�?� of the changing roles of the arts and
business in modern society. An earlier work, The Arts Management
Handbook, is a standard reference in the field, and his latest work, The
Arts Management Reader, has won praise for its coverage of arts
developments in America since 1962. Reiss writes a monthly arts
column for Fundraising Management magazine, and presents scores of
seminars and lectures for arts groups in the U.S. and abroad each year.
Cash In! is delightfully illustrated throughout by Henry Martin, the
New Yorker cartoonist and trustee for the McCarter Theatre in
Princeton.
�?oHere's a splendid compendium of tested
promotional and fundraising ideas that
certainly belongs on the bookshelf of every
crafts administrator. �?� The Craft Report
�?oReiss has filled the book's 230 pages with
hundreds of solid tips, proven techniques,
examples and successful case histories that
virtually any arts organization can adapt to
gain support, income and audiences�?�
Corporate ARTnews
CASH IN!
FUNDING AND PROMOTING
THE ARTS
ALVIN H. REISS
408 West 57th
New York, NY 10019
ALVIN H. (SKIP) REISS "SUCCESSFUL ARTS PARTNERSHIPS WITH BUSINESS"
212-245-3850 Saturday, 2:00 - 5:30 PM
SS# 053-24-4087
Friday and Saturday nights at Carolina Inn
Arrange to have Airport Express meet at RDU 54,-236|
Contact Terry Nemeth/Herb Scher at TCG about bulk order on book for sale
at conference (40% discount off $12.95 is $9.50)
Will make air reservation and call with schedule and cost
Guest at banquet and at cookout
