Showing posts with label small museums. Show all posts
Showing posts with label small museums. Show all posts

3 February 2021

"ACTIVATING THE PEOPLE WHO CARE THE MOST": IN CONVERSATION WITH FUNDRAISING CONSULTANT CINDY WAGMAN

(Fun)draising | Samantha Summers


Fundraising expert Cindy Wagman is the founder and CEO of The Good Partnership, a fundraising consultancy which helps small non-profits achieve their fundraising goals. She brings a BA in Women's Studies from Queen's University, an MBA from the Rotman School at the University of Toronto, and over fifteen years of fundraising experience to work with her every day.

Cindy has learned that fundraising is all about relationships and collaboration. (Photo source.)

How did you come to start The Good Partnership?

I was approached by an organization to run a capital campaign for them, and was able to negotiate that I could do that role as a consultant rather than as a staff person. That was when I looked at what I wanted and where I was in my career and thought, “Oh, I could start a consulting business!” I was able to negotiate that, and then from there really figured out how to grow the company. I knew I wanted to work with small organizations. I think they’re doing really interesting work, and it evolved quite organically based on our learning and our work with our clients. I didn’t really know where I wanted it to go, but I’m happy with where we are. 

For so many of the people in the program that I’m in, when you talk museum fundraising, people think the ROM, the National Gallery, the big ones. The reality is that the vast majority of museums are small heritage sites. 

That’s where our sweet spot is. No other consultants really serve them in a meaningful way, and the kind of support small organizations need is fundamentally different from what most consultants do. Most consultants give advice and walk away, whereas we specialize in implementation. It’s like having a staff person with you. We work with a lot of arts and cultural based organizations. Some are museums, some are hybrids where they’re site-based and festival-based. There’s so much diversity within the sector. There are 86,000 registered charities in Canada. 80% of them have operating budgets under half a million. Most organizations are small, we just don’t know about them. 

What in your perspective is the biggest misconception non-fundraisers have about fundraisers?

What I hear from non-fundraisers all the time is that fundraising is icky, it’s begging. They have this perception that fundraising is about taking money away from people who don’t want to give it away. That’s the opposite of what fundraising is. Fundraising is really about activating the people who care the most and giving them an opportunity to invest in things that excite them, and to envision the future that they want to build. That’s the biggest misconception, just that people don’t want to give, therefore fundraisers are bad people. People want to give, they want to support, they care about organizations and they want to see them be successful. All of the people who aren’t “chosen fundraisers,” they all say, “I’m not a fundraiser, I don’t know how to fundraise, I’m not a good fundraiser.” Part of it is that money is taboo, we aren’t supposed to talk about it. Mostly it’s because there’s this myth that people don’t want to give, and that’s just not true. People need to hear directly from donors to understand that fundraising is community-building and mobilizing support. If you can do that successfully with volunteers and board members who are non-fundraisers, you can get them much more on board and more excited. I also think part of the problem is that so many small organizations have been unsuccessful with fundraising. Not only do they not want to do it in the first place, but then they try so hard and get no results. It’s a cycle, and part of it is our brain saying, “We’re not good at this, and our results aren’t going to be good.” It’s a cycle I’m on a mission to break, and to get people to feel good about fundraising so it can build and grow on itself. 

The number one trait it takes to be a successful fundraiser? According to Cindy, it's curiosity. (Image source.)


What personality traits does it take to be a successful fundraiser?

There’s one thing that makes for an excellent fundraiser: curiosity. What people perceive to be fundraising is pitching. Elevator pitch, corporate pitch, talking at people. Good fundraising is the art of listening. It’s hearing from people why they care, and giving them options to take action on that by supporting the organization. Introvert, extrovert, all of those things don’t matter. People have different styles. Authenticity and curiosity are the two biggest, most important character traits. It’s really about how you uncover what the true opportunities for support are. You also need to be curious about the programs. You need to listen to your curators. Be curious about everyone you’re interacting with, because then you get to see a much bigger picture and you can connect people with what you care about. It’s something every good fundraiser needs to be skilled at. I haven’t come across any evidence to say that it’s something we don’t have innately. What it requires is stepping back from our preconceived notions about pitching and presenting and turning that into listening, and everyone has that capability. 

At the end of the day, fundraising is relationship building, it’s customer service, and being able to say, “What is interesting to this patron? Let’s connect them to the right person,” rather than saying, “Here’s what we’ve got. Donate.” 

There are archetypes of what I call “reluctant fundraisers.” There’s consistency in personality archetypes in these people who say, “I’m not a fundraiser, I can’t fundraise, I don’t want to fundraise.” An example is what I call “The Perfectionist.” Often I see this with programming staff or board members who are saddled with fundraising who are very good at what they do, but don’t want to fundraise. What happens with the perfectionists is they seek more and more information, but they never take action. The best way to learn something is to practice it. What I encourage for those people is not to worry about the end, not to think about the ask. Flex those listening muscles. That’s how you’ll learn and get comfortable talking with donors. From there you can build your capacity to have the conversations, and become a “doer.”

Let’s assume someone is put into a fundraising role, perhaps as a larger role, where can they start? What are those key pieces of information you need before you can get going?

Start by listening to donors. Go through that donor list, reach out to as many of them as you humanly can, and ask for feedback and advice. You want to get to know them. We do that without exception, because I think that’s the number one consideration to having a good fundraising strategy and being successful in fundraising. You have to know your donors and understand who is already at the table. Once you do that, the rest comes. 

Learn more about The Good Partnership by visiting their website, and find out which fundraising archetype you are by taking Cindy's self-evaluation quiz

26 November 2020

HOW TO SURVIVE A PANDEMIC: UNIQUE APPROACHES TO SUSTAINING

Museum Innovations | Sara Fontes


The pandemic has been really difficult for all of us, but especially for the arts & culture and the tourism sectors. As emerging professionals in the museum field where these two sectors overlap, it is a scary phenomenon. How will the museum field weather this storm and survive until we get there? Luckily, museums large and small are finding ways to overcome the drop in visitors and funding. 


Some large museums are promoting and increasing accessibility to their online digital collections. With places like the British Museum, the Uffizi Gallery and the Royal Ontario Museum having virtual reality versions of their permanent exhibits, doing “radio” shows on facebook, 3D recreations of objects and 2D digital photographs of some of their collections.

But what about small museums? How do small museums survive this crazy pandemic when people cannot come through their doors? Some smaller arts institutions are also digitizing and offering their collections for free online, similar to viewing objects and art works in the physical world. John B. Aird Gallery in Toronto is one such place. There are grants available for digitization from the Canada Council for the Arts, but there are limits to the amounts you can submit and receive. There is not always enough grant money for everyone, leading the museum sector to be creative problem solvers.

Traditional Brine Pickles at A Festival in Poland. Source.  

A small museum in Kitchener, instead of its annual picklefest this year, partnered with sponsors to create a pickle box and the box sold out. The Vincent Van Gogh exhibition by Lighthouse Immersive offers a drive-thru version of the Van Gogh show by Atelier des Lumières. A museum in Saskatchewan has started a 50/50 lottery, the type that you would find at a sports game. As with usual 50/50 lotteries, the museum gets to keep 50 of the pool and the winner gets the other half. 

Approximately five people at the Van Gogh Experience Show. They are looking at paintings by Van Gogh being projected on the walls. Source.

In the spirit of creative problem solving and virtual solutions, I will be reviving my predecessor’s "Museum’s on a Budget" series. I’ll be focusing on things useful during the pandemic such as digitization, libraries of things, virtual tours, and 3D object scanning.