Faith in humans key to cash aid

So you want to raise a cool $300 million? GILBERT WONG asks the right man.

It sounds simple when William Conner describes it. "You have to believe that people are ultimately generous. If you believe, then you believe people have the desire and willingness to have a better society and culture in which to live."

He's talking about convincing individuals to part with their hard-earned cash to support arts and cultural institutions. Conner is a master of this art.

He is vice-president of Grenzenbach Glier, claimed to be the largest transatlantic philanthropic consultancy. Based in London, he has a personal client list that includes the Victoria and Albert Museum, the Glyndebourne Opera House and the Edinburgh Festival.

His company has existed for more than 40 years, linked to Ivy league universities. It is not a a fundraising company, he is quick to say. It tells organisations how to raise money for themselves. As consultants, they help organisations preparing for changes and in need of funding to make the jump to the next level of their evolution.

Conner was visiting main centres this month with Julian Marland, of the South Bank Centre, as part of the Montana Masterclass series.

When it comes to American and British institutions, the figures they routinely help to raise beggar the sums in this country.

For a new medical wing for Stamford University, Grenzenbach Glier staged a billion-dollar campaign, raising that sum from philanthropic individuals. To finance a refurbishment to ensure the San Francisco Opera House met earthquake standards, Conner, then the company's director of development, was able to triple the level of public donations to raise $US150 million.

It is entirely about the relationship the institution has with its community, he says.

"You lay out your plan, vision and financial needs and engage as many people as possible with the vision. The more inclusive and engaging you can be, the more the need is going to be understood.

"Fundraising is simple. It's relationship marketing. You strive to have the leadership and opinion-setters behind you."

For Conner, the fundraising business began when he was 8 and was told by his father to hop on his bike and sell the ads for the church calendar.

At university he did not study marketing or business. His degree is in music performance. He remains an accomplished harpsichordist, and in a former career was an editor for the Grove Dictionary of Music.

In this country the creative sector often raises two inherent difficulties with corporates who remain major funders of culture: corporate sponsorship can lead to conservative art and a preference to invest in visible and long-lasting bricks and mortar rather than what can be the transience of performance and exhibition.

Conner says this is not the trend in the United States, where the growth in philanthropy is not from corporates but individuals. He sees no reason why this shouldn't be the case in New Zealand.

"If you look at American philanthropy, 95 per cent is from individuals and 5 per cent from companies. Ultimately it is down to individuals. If they have more than they need, then they will do things for the benefit of their communities."

Conner and his colleagues advise on how arts organisations can make themselves an integral part of their communities. Often this means simple strategies, like making better use of the core volunteers and enthusiasts many organisations have.

There are new buzzwords, such as e-philanthropy, where the use of website and e-mail technology cuts the cost of hard-copy newsletters and enables a more personalised dialogue between the organisation and its supporters, whether they are volunteers, season ticket-holders or local and national government. But Conner says these are only a tool and do not alter what is a personal business, reliant on building relationships with integrity and honesty.