As discussions after our first event progressed, fundraising became increasingly clear as a priority, in fact, a necessity. Such is the scale of the conception and design of each event and the actual production itself, contrasted with the fact that we are still a relatively little known Project, more work needs to be done before we can be self sustaining.
We all worked on the last event for free, in some cases for up to eighteen months and volunteering very valuable professional time and resources. We are clear that in the future, whilst we all believe strongly in what we do, and would never realistically expect to get paid for all the time we spend on the project, we do feel it’s appropriate that all concerned get paid a sensible amount for the time and work they put in.
One very important aspect is the period in the run up to an event, where the differing strands of music, visuals, design, physical theatre, lighting and dance are conceived, evolved and fused together to create one ongoing and unique narrative experience. As this is such a remarkable opportunity for our participants to experience pure, unfettered and communal creativity, it’s the Arts Council that we are looking at to support this area.
We have put a lot of effort into an application (37 pages no less) that really explores the value of what we do from every angle, from the impact that it has on our own practice, furthering the form, artistic value, peer support and the wider legacy it leaves on the community (both artistic and wider) around us. This has been a very considerable venture in itself – very useful in the way it has made us think about what we do, almost producing an event in conceptual form – because we feel it’s important not to take anything for granted – what we supply in the application itself is what we can expect to be judged on.
We’ve also asked for and received a number of very helpful supporting letters, each of which offers one person’s unique insight into the value of what we do, drawing on that person’s particular experience and view.
There are also other fundraising options which we are exploring such as Awards for All, the Paul Hamlyn Foundation, PRS Foundation and the Musicians Union – each having their own slant which we feel can be reflected in our work.
We are also beginning to look closely at Sponsorship. We couldn’t possibly have done our first event without a lot of very generous loans of materials and equipment and we will be hoping to further some of those relationships this time around, formalising this Sponsorhip in Kind process a little more, and finding new partners.
We will also soon be offering opportunities for cash sponsorship from individuals, groups or companies that want to support cutting edge creative events that communicate strongly with a broad range of opinion formers, experience junkies and life tasters.
Rich Batsford
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