1. Welcome to Fundraising for Arts Institutions & Festivals

5. ZIFF 2001

6. ZIFF 2001

7. ZIFF 2001

8. ZIFF 2001

9. A division of Linear Velocity

11. Technical Perspectives from our festival in Zanzibar

18. Policy as Conversation. Co-opetition. Why it matters.

19. Who are you? What is it you seek? What are you collaborating on? What is your common ground? How can you make your communication simple and effective?

21. I spent my early childhood living with my old aunt in the suburbs of Jacmel. I attended elementary school there until 5th grade when she moved to New York City and sent me back to my parents’. I was 12. Back at home, I lived with my mom, my dad and my 10 siblings. My parents were at each other’s throats and often breaking up. As a consequence, I was taken out of school for a few years. I always dreamt of being on stage singing or acting and, guess what? Thanks to Ciné Institute, I am well on my way. In my spare time, I think of scripts, sing church music, and imagine my picture on billboards around the world. My hunger for knowledge is finally being satisfied. Filmmaking is thrilling. I am already a proud camerawoman. Every day brings a new opportunity… For instance, I am so thankful for having taken part in the making of Ayiti Ayiti!* My future is full of hopes. MARJORIE LAFLEUR 24

22. I was born and raised in Jacmel. I have 3 older brothers, one of whom is a painter, another owns a cultural website and the 3rd is a violin player, teaching music in Mozambique. I am now finishing my university studies in communications and journalism. Before Ciné Institute, I wanted to be Haiti’s famous viola player. Now, I am loving film. In the school, I love my colleagues, the harmonious atmosphere, the team spirit, the staff’s devotion, and the filmmakers who come from all over the world… They make me dream!!! I’m now convinced I want to help my community through film. I can’t predict the future but I know that if we want things to change, we have to get involved. Later on, I will pursue cinematography, write stories, edit, and become a reporter known throughout the world. My family and friends will be proud of me. KEZIAH JEAN 23

24. Civic Engagement in the Arts Defined as the personal or collective action to create positive impact in the community.

25. 4 - C Model of Civic Engagement in the Arts Container – provides a physical, emotional or psychological space for civic engagement. Convener – provides the purpose and call for a formal gathering. Connector – provides a platform for people to bridge their differences and bond through their similarities. Catalyst – provokes awareness, response or movement on a given issue.

30. Organizational Structure Institution - An Institution is a permanent structure for ongoing commitment to the community. Donors expect that an arts organization will be long lasting. Without institution building, donors will not give money for years to come. Arts organizations must make a commitment to capacity building, community involvement, education, or cultural interchange.

32. Long Term Planning To build an institution there must be a long range plan in place. Initially a 3 to 5 year plan must be developed.

35. Fundraising Campaigns Diversify fundraising strategy – large and small. Have an annual campaign starting with individuals, moving toward foundational and corporate support Develop a sense of ownership with donors.

38. Record Keeping, Transparency and Accountability Database of potential and past donors Record keeping of financial transactions. Accountability for funds, and results of programs.

39. Thank your donors, individuals, participants, staff, volunteers, media and the community!

40. Create a community

42. www.linearvelocity.com Thank you!