Four Quick Tips for Launching a Crowdfunding Project

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Broadway producer, Ken Davenport, recently surprised the theatre world with his decision to launch a crowdfunding campaign to produce a revival of the musical Godspell. The ambitious project is hailed as the "first-ever community-produced Broadway musical" and will probably not be the last of its kind. Crowdfunding, it seems, is here to stay. Crowdfunding is essentially the pooling together of financial resources via the internet. Typically, the project manager solicits financial donations from the public via a web-based platform. Crowdfunding can be used to fund just about any type of project, whether its reviving a Broadway musical or financing a band’s studio time. While the idea of pooling together financial resources from the larger community to fund an artistic project is certainly not a new model, the internet is putting a new twist on things.

Here are 4 quick tips to consider before you or your organization embark on a crowdfunding campaign:

1. Choose an Appropriate Platform: There are many platforms to choose from for your crowdfunding campaign. Kickstarter and IndieGoGo are two of the more popular platforms. However, it's not always necessary to sign up with a third party. It is possible to launch a campaign through your own website, but strict securities and exchange commission regulations may make this option trickier. It's important to gauge the specific needs of your project and organization prior to choosing a platform.
2. Be Aware of All-Or-Nothing Policies: If you decide that a platform like Kickstarter or IndieGoGo is the best way to go, then take the time to become familiar with their policies. Platforms like Kickstarter and Rockethub have an "all or nothing" policy that requires a project to meet ALL of its stated fundraising goals in order to receive any funds.  If a project falls short, then no money will be collected.  Other platforms like IndieGoGo allow you to keep the funds you raise, even if you do not meet your fundraising goal.   Some artists and groups find Kickstarter’s “all or nothing” structure to be a great motivator.   Others consider it a potential waste of time if their goal is not met.
3. Consider the Legal Ramifications: While services like Kickstarter and Indie GoGo make it virtually painless to launch a campaign, it's always a good idea to make sure your legal ducks are in a row. Depending upon the complexity of the offer, you may need to meet particular requirements.  Since the donors are considered investors in the Godspell production, Davenport's offer had to be reviewed by the Securities and Exchange Commission before it could be presented to the public.
4. Read the Fine Print! Some platforms do have fees and other hidden costs associated with their services. Take the time to understand the economic model that the service is operating on -- fee structure, donation collection process, funds disbursement, etc.

Why Art? Because it's Not Only For "Us."

Tim Mikulski grabbed my attention the other day with his ARTSBLOG post, asking, "[A]s our public debt deepens and we start to see the proverbial writing on the wall, what is that new argument for funding arts organizations and programs?" Amidst cautious optimism (!?) about economic upturn, We In The Arts are still reading horror stories about everyone from universities to public elementary schools cutting arts funding. Newly-appointed NEA Chairman Rocco Landesman's opinions are already sparking debate, and there have been some thoughtful reactions from opponents, as well as others that send shivers down my spine.

So Mikulski's question is more important than ever. We In The Arts like to say that "the Arts are always the first to go!" and "the Arts are considered fluff!" and "imagine a world without us!" Jan Selman, of Arts Leadership League of Georgia, responds to Mikulski: "I do not debate from a victim mode. I believe that our industry is as viable and important as any other industry." What a brilliant point! In other words, we doth protest too much. And in so doing, lend credibility to those who DO approach the Arts from the very stance we are so convinced "always" result in the Arts getting the axe.

We cannot allow ourselves to play the victim, as much as we may perceive ourselves at the whim of Others Who Don't Understand.

I suggest, as difficult as this may be for many, to remember, for a moment, that Art is not just a tool of the Left.  When arguing on behalf of the Arts, I argue for the right for all Artists to be taken seriously. (No, I'm not saying that I think all "Art" is "Good," but We In The Arts are not only those Bohemian Lefties that Landesman and Laura Collins-Hughes on ARTSJOURNAL's blog, agree are perceived as "a little gay.")

Yes, there is Art that is "obscene" or "offensive" to conservatives, and there is at least some art that is offensive to "the typically outraged" liberals. (And as for the Obama in Joker Whiteface poster, I take this argument to the conclusion that any artist who wants to make a provocative statement should at least take responsibility--or credit?--for it, and engender dialogue.)

Historically, Art has caused outrage as it  evolves with (and sometimes spurs the evolution of) its society.   I say, more power to Artists who question our world, even if they argue against what I believe, as long as they stand behind their work.  There is something refreshing about my getting enraged because a well-done piece argues so passionately for something that I think is wrong.

And so, when I argue to preserve funding for arts organizations and programs, I have something new to say.  I will no longer play the victim.  I will say, because Art gives people another way to communicate, and can spread messages across the boundaries of beliefs.  Art is a different way to dialogue and discuss--it is subjective, it is not RIGHT or WRONG.

Art isn't only the product of the crazy gay liberals.  It can be the product of insane heterosexual conservatives as well.  And everyone in between.