As far back as I can remember, I have always been fascinated by creators, ideators, builders, by those who dared to say and do, at the risk of being judged, or worse, of failing.
Often referred to as dreamers until they succeed, and geniuses at the time of their consecration, their daring and insight have always been a source of inspiration and a role model for me.
They have always inspired communities and made our societies progress. Regardless of our socio-economic origins, we all derive part of our inspiration, our aspirations and our motivation from these atypical journeys.
Especially the so-called “contemporary” artists, who “innovate” in their art, push back the limits and established rules.
I have always seen a parallel and an interconnection between the audacity and the path taken by contemporary art creators, and my own career as a professional and as an entrepreneur.
Today more than ever, these creators, cultural entrepreneurs, those who dare to project our society forward, need help.
These creators have always been supported by the economic elites who, through their patronage, have enabled them to continue their work and, consequently, to enrich the cultural, sporting and intellectual heritage of our societies.
These major patrons now share this role of financiers and promoters of culture with the various levels of government. These have become the main financial backers of organizations that could not survive without their contribution. Especially the smaller organizations, so important in promoting diversity.
With budgetary pressures and societal choices dividing our governments, it appears that budgets for culture are shrinking, which will inevitably have a devastating impact, not only on the cultural industry, but on the beneficial effect. and emulative that these disciplines have on our societies.
The governance and process for accessing these grants and private corporate donation programs are cumbersome, often complex, and require organizations willing to invest an effort and discipline that are often prohibitive. What discourages more than one by the way.
In addition to soliciting government assistance and submitting their projects to major donors, organizations have historically set up annual fundraising activities, driven by the mobilization of members of their internal teams and members of their boards. administration.
Golf tournaments, cocktail dinners, fundraising events, fundraising campaigns … In a not so distant time, these activities were very popular and often allowed organizations to raise more than a third of their annual operating budget.
However, corruption scandals and changes in corporate governance rules have forced companies to review their internal policies in this area. Rather, they favored the centralization of this type of initiative and put in place more rigid donation policies, aligned with targeted corporate objectives. This has fostered support for well established, influential and “popular” organizations, to the detriment of more marginalized organizations. And what about the consequences of COVID-19 on the industry?
A model to review
It is now clear that the philanthropic funding model must be completely revised. There is a great opportunity for the smallest entrepreneurs to become patrons in their turn. In a more agile and accessible way.
The boards of directors of these cultural organizations have a great opportunity to take a creative look at the issue, to find innovative and agile ways to reposition their conversation with their donors.
In the boards of directors on which I sit, I have been attending for several years the reflection on the overhaul of our ways of doing in this matter. One of the comments I often hear in our conversations on the subject is that our art products are perhaps too tucked away, and therefore, less appealing to large donors.
To this, I have always replied that the lawyer and entrepreneur in me have always felt connected and inspired by the creative process, the resilience of these organizations and their administrative agility.
I financially supported these organizations. But more importantly, I invited those around me to go see their art, and over the years, dozens, if not hundreds of people have had the opportunity to consume a different and original product.
I call on the community of entrepreneurs in Quebec to take an interest in and get involved in these organizations, because they all speak a language that is familiar to us. You will find within them a source of energy and inspiration that will constantly renew itself, and above all, you will draw from these creative environments another perspective on your own business.
But above all, I invite these cultural organizations not to limit themselves to the confines of their product: you represent so much more to your donors than the nested character of the art you promote.
I invite cultural organizations and those responsible for promoting entrepreneurship to make contact, to discuss the respective approach of their members. Dare to do joint campaigns, use social networks. Talk to yourself about what unites you. Reinvent the concept of fundraising events. Do it jointly.
In conclusion, this approach is not new. It only reminds the business community and the community of cultural organizations to dare to forge links. We have more in common than we think. Our efforts are linked, and we all need each other.
* Sébastien Leblond is also a mentor-volunteer at Fondation Montréal inc., Alumni of the global collective of entrepreneurs Entrepreneur Organization and former member of the board of directors of its Montreal section.