Learning from the American Fundraising Model: A European Perspective March 2014 | Page 19

deep recession, government funding for the
arts has shrunk and many of these institutions
have been forced to close, or at least scale back
dramatically their operations.

York is that everything will be much easier if
you explain your problems to sponsors – and
they will be ambassadors for you when you
need them.”

For Vázquez-Shelly, successful fundraising in
such a difficult economic climate means having
a strong brand, promoting it with confidence
and not being timid about asking for support.
Of course, Teatro Real is fortunate in being one
of Spain’s best-known cultural institutions. And
Vázquez-Shelly stresses that institutions need
to capitalize on their brand when seeking corporate funding. “Companies want to be associated with strength and power,” she says. “So you
have to approach people from a strong position.
And don’t be afraid to ask for more money.”

This is exactly how Vázquez-Shelly has approached corporate sponsors. Rather than simply asking for money, she has involved companies in fundraising and theatre management,
creating what she calls a “board of protectors”.

However, history and brand alone is not enough
to attract private funding, and at Teatro Real,
Vázquez-Shelly has used a U.S.-style strategy
to establish a network of companies as sponsors of the theatre.

Bringing these leaders together two or three
times a year is something that also appeals to
sponsors, who see it as a chance to network with
corporate peers in a non-competitive setting.

The merits of this approach were reinforced
during her KBFUS study visit. “To me, the U.S.
fundraising model has always been one to follow,” she says. “But one thing I learned in New

So while budget cuts from the ministry of culture and the city of Madrid means hiring additional fundraising staff is not an option, the theatre can turn to the heads of some of Spain’s
biggest companies to help secure more corporate donations.

Vázquez-Shelly believes that recession has
actually helped institutions such as the Teatro
Real become more entrepreneurial in the way
they seek funding. “The crisis has prompted a
change in culture,” she says. “And we are coming out stronger and more realistic.”

teatro real
Built in 1850, Teatro Real is one of Europe’s leading
opera houses and one of Spain’s most prestigious
cultural institutions. After a six-year renovation,
the theatre reopened its doors to the public in 1997
with capacity for 1,750 people and one of the world’s most technologically advanced interiors. The
theatre supplements its government funding with
strong support from leading corporations and with
some private donations.

C ON V ERS A T I ONS

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