Terra sebv s acta mvsei sabesiensi s

Sources of Funding for Cultural Institutions in Russia at the Turn of the 21

st

 Century 

 

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nevertheless, the sponsor is often an inspired art lover. The sponsor expects 

profits in most cases, although this does not prevent him/her from being a 

connoisseur of art.

16

 

While exploring the experience of charity, more attention should be 

paid to existing organisations and foundations established by:  

- Individuals (for example, the Kress Foundation, Soros Foundation, 

Ford Foundation, Henry Moore Foundation, etc.); 

- Social organisations (such as the Russian Cultural Foundation, 

International Foundation for Research in Art, World Monuments Fund, 

European Cultural Foundation, etc.); 

- Corporations (for example the Coca-Cola Foundation, the 

Mitsubishi Corporation Fund, etc.). 

The work of such organisations is based on the laws governing 

NGOs (Non-Governmental Organisations) and the tax benefit system. 

Funds receive cash flows from donors, sponsors and the state (for specific 

programmes), as well as from their own commercial activities, and allocate 

the collected funds in the form of grant support. Currently, most non-profit 

organisations in the central part of Russia and a proportion of institutions in 

regional areas take part in charitable projects, and their number is constantly 

growing. Regardless of the answer to applications, the experience gained is 

positive. 

Public authorities and sponsors usually allocate money not just to 

maintain the existence of cultural institution, but for the implementation of 

specific programmes. Attracting sponsorship money is a laborious and 

lengthy process. For this purpose, a programmatic approach is often used in 

Russia that allows coordination of the efforts of various partners and 

subcontractors.

17

 

Any programme should be characterised by the following parameters 

(unless the grantor designates special requirements): 

1. Statement and urgency of the problem underlying the need for the 

programme, i.e. showing how it is socially relevant; 

2. Programme goals and objectives (goals should be achievable and 

results should be verifiable); 

3. Methods and work plan of the project (for example, schedule of 

planned activities, the dates they will take place, and who the decision-

makers will be); 

4. The expected outcomms of the programme; 

5. Reporting and evaluation; 

6. Further development of the project and the prospects for its 

                                                 

16

 Shlyakhtina 2005, p. 183. 

17

 Babkov 2002, p. 48. 

www.cclbsebes.ro/muzeul-municipal-ioan-raica.html   /   www.cimec.ro

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I. V. Chernyaeva 

 

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financial stability (if applicable); 

7. Budget/estimation of all costs required for the project (salaries, 

direct and indirect costs, etc.); 

8. Summary of the qualifications of the project participants 

(biographical and professional data); 

9. Background information about the organisation (copy of the 

charter, the financial report for the previous year, letters of support, 

publications about the organisation in the media).

18

 

For the development of such programmes, it is often better to attract 

independent professionals who are well-versed in contemporary 

sociocultural processes, local customs and traditions and the specifics of the 

cultural institution. The success of any programme is primarily dependent 

on the funds collected for its implementation, therefore the solution to this 

problem involves intensive fundraising efforts. 

Fundraising involves a complex of activities aimed at attracting 

funding from various sources for the implementation of non-profit 

projects. There are four types of funders attracted to participating in 

fundraising campaigns: state and international organisations (domestic and 

foreign), commercial organisations, the non-profit sector (charities) and 

individuals. 

Researcher Y. P. Kulikova proposes several methods for classifying 

fundraising.

19

 Depending on the financial aim, project and operational 

fundraising can be distinguished from one another. In the first case, the 

funds collected are used for a specific project. Potential investors tend to 

treat this type of fundraising as preferable because the funds are spent on 

specific projects with clearly defined goals, objectives and expenditure. As a 

result, reporting is more understandable since each sum belongs to the work 

done. Although the question of profit in non-commercial projects is not the 

most significant one, project fundraising is nevertheless more suitable than 

other types for generating profits in the case of a successful project. 

Operational fundraising is more complicated because it is not aimed 

at specific projects but the day-to-day running of an organisation (wages of 

employees, regular healthcare, the payment of rent for the premises, etc.). 

As a consequence, it is less formalised and therefore much less effective. 

Every investor wants to see what the funds are used for and the concrete 

results of their donation. On the other hand, the appeal of operational 

fundraising lies in the fact that the money is invested in long-term projects, 

functioning well into the future. In this case, the target of spending can be 

                                                 

18

 Ibid. 

19

 Kulikova 2012, p. 33. 

www.cclbsebes.ro/muzeul-municipal-ioan-raica.html   /   www.cimec.ro

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