Our Campus is Diverse.
It’s called Detroit.
tion we’re having really well with funders. We have focused our businesses, we’ve made them as lean and mean as we possibly can, but we still need risk capital. There’s a way to have a different set of conversations with funders, and that’s one thing we can do to move forward in these times, because people still want impact and they want more people to love the performing arts—that’s why they give them money.
Defining capital: Susan Nelson outlines different resource areas in this slide from her Conference presentation, which drew on findings from her study Getting Beyond Breakeven.
Rosen: You mentioned having a different kind of conversation with funders— talking about risk capital. Where does general operating support fit in? This is what so many organizations wish they had more of. Nelson: I think that is a critical conversation. General operating support allows you to create surpluses, because you’re not pulled off mission to do projects that receive funding; instead, you’re really working your operations. Organizations need to talk to their funders and supporters about how to get more general operating support into our organizations. It does indeed help with creating strong capital structures.
Warning signs and greater institutional risks can be directly tied to various forms of poor capitalization, as illustrated by a chart from Susan Nelson’s Conference presentation.
Nelson shows how nonprofit financial planning must be holistic and consider resources as well as internal and external factors.
americanorchestras.org
Rosen: You’ve paid some attention to the process of how an organization works toward greater clarity—around their planning and what their financial needs look like. Could you talk a little bit about that? Nelson: Sure. If you’re going to try to think about an integrated, holistic look at your organization that looks at all its programmatic, operational, and capitalization needs, everybody needs to be in the boat with you. This needs to involve staff and board and, to some extent, key funders. There will be some rough bumps, because you’re going to hear some things that you don’t want to hear. You have to have the whole organization involved so they understand the tradeoffs and why you’re doing the things you’re doing. Rosen: In the case of orchestras, I presume you would include musicians as
Study Music at Wayne State Choose from seven undergraduate degrees and six graduate degrees including a Graduate Certificate in Orchestral Studies Study privately with members of the Detroit Symphony Orchestra and Michigan Opera Theatre Orchestra Perform in the heart of Detroit’s Midtown Cultural Center, a vibrant area of performing arts, museums, art galleries and festivals Qualify during auditions for talent-based scholarships valued up to $8,400 a year Audition Dates for 2011-12 admission: November 11, 2011 February 3, 2012 2, 2012 * *March Scholarship deadline
music.wayne.edu
music.wayne.edu
“Amazing musicianship, “absolute emotional certainty, “intelligence, truth. She belongs among the exalted few.” (Mozart — Stereo Times)
Elizabeth Rich, pianist Ms. Rich is offering 12 Mozart Concerti, both Weber Concerti, a coupling of the Robert and Clara Schumann Concerti, and many others.
“Worthy of a cult following, she “totally identifies with the Mozartean “idiom; she seems born to play this “music.” (Mozart Concerti — American Record Guide)
“These may well be the most “persuasive advocacies the Weber “Concerti have received. I was “dazzled.” (Fanfare) “She brought power and eloquence “to every bar.” (Clara Schumann Concerto
— London Music & Musicians)
For further information contact (212) 496-1515 or LiegnerMgt@aol.com www.LiegnerManagement.com
23