Raising money from foundations isn’t easy, but several funders want to support artists just like you.
But brace yourself for some inconvenient truths. By and large, foundations and government agencies do not give grants to individuals. The few that do, such as the Guggenheim Fellowships or the MacArthur Fellowships, often recognize great career accomplishments. Artists that create new works–composers, painters, etc.–are generally favored over interpretive artists, such as singers. The New York Foundation for the Arts, for example, awards fellowships to creative artists ranging from architects to journalists to craftsmen, but not to musicians performing works they haven’t created themselves.
Foundation and government fundraising is also the most labor intensive and requires the longest lead time. Many funders have only one or two deadlines per year and require detailed applications and follow-up reports. If you are starting a long-term project or are looking to fund a portion of your studies, you are better off asking for money from friends and family.
All that said, there are several funders whose missions are dedicated to supporting individual artists or nascent organizations. Some reward merit; others have specific programmatic requirements for their grantees. Whatever the case, follow the guidelines carefully and you just might get yourself a grant.
The Anna Sosenko Assist Trust
(www.annasosenkotrust.org)
Open the website, and on autoplay you hear “Darling, Je Vous Aime Beaucoup”—which you will start singing if you win support from this kind foundation. “Darling” was the most famous hit by the popular song composer and impresario Anna Sosenko, whose last will created the trust “to provide readily obtainable funds to help talented performers launch their careers in the arts.” Musical theatre and classical singers (including yours truly) have been among the recipients. The trustees prefer to support “projects and performances that will expand and challenge [the artists’] professional development and exposure,” according to their guidelines.
Grants tend to be small (in the neighborhood of $1,000) but they support some common expenses, such as accompanist fees and performance attire. Voice lessons are not eligible, but most anything related to a worthy project is. The application process is tiered: an e-mailed letter of intent is required at first, with successful candidates then asked to submit a full application, including press clippings and letters of recommendation.
Frank Huntington Beebe Fund for Musicians
(www.beebefund.org)
This fund provides coveted grants to highly qualified performers, composers, and scholars who plan to study in Europe. In the past, the fund supported musicians at the beginning of their careers, but a glance at their recent recipients reveals that prospective applicants should already have achieved some professional-level experience.
The Beebe Fund offers one-time, $22,000 grants to students under the age of 30 to cover travel and living expenses to support “a strong, well-planned project of study that will enhance the applicant’s life in music.” Enrollment in a European school or university is helpful but not required. Applications are accepted in December for the following academic year and involve an online project description, a CD and, for finalists, a live audition in Boston.
PatsyLu Fund for Women’s Music Projects of the Open Meadows Foundation
(www.openmeadows.org)
Within the framework of the mission of Open Meadows—which is to fund women-led projects that promote gender, racial, and economic justice—the PatsyLu Fund provides grants of up to $2,000 for a surprising range of music. While individuals are not expressly eligible to apply, fiscally sponsored projects led by individuals are welcome. In fact, small and startup organizations are strongly encouraged to apply.
The fund considers applications for performances and some research projects “from women of ethnic, cultural and racial diversity, and especially lesbians.” Still, there seems to be some flexibility in that guideline. I do not meet any of those qualifications, but in 2012 I received funding for a performance with a strong feminist message. Applications are considered at two deadlines each year, February 15 and August 15. The very responsive staff person will guide you through the process, including a written description, budget, and work sample.
The Puffin Foundation Ltd.
(www.puffinfoundation.org)
While the name suggests a focus on environmental causes, the Puffin Foundation is actually interested in “continuing the dialogue between art and the lives of ordinary people.” Successful projects must “educate the public on topical issues,” such as social justice or environmental concerns, with priority given to communities that are underserved by the arts. Recent music grants include an oral history project that set the stories of Jewish refugees to the music of Mendelssohn and a program to bring music and dance performers to hospitals.
The foundation funds a variety of disciplines in alternating years: music, photography, and theater projects can apply for the December 2013 deadline; dance, fine art, and video will be considered in 2014. Though the foundation can be contacted through its website, the application process is strictly non-electronic: you can request an application in writing after September 1, and then mail in the application and work samples. The average grant is $1,250, with a maximum of $2,500.
Other Funding Options
Local government agencies also have grant programs for individuals, usually with a strong community-based component. Projects receiving public funds, after all, must benefit the public as broadly as possible. Each borough of New York City, for example, has a cultural council that offers small grants to projects led by artists or artist collaborations, in addition to frequent seminars and training workshops on business issues. The Lower Manhattan Cultural Council (www.lmcc.net) has an especially wide range of program offerings, many of which are open to nonresidents.
If you do decide to seek funding from foundations or government agencies, approach it as you would Young Artist Program applications. To start, make sure you read and understand the guidelines. The number one reason why applications are rejected is that the proposed project does not match the foundation’s mission or the applicant has not followed the instructions to apply. When reading the guidelines, keep an eye out for project expenses that cannot be funded. The Open Meadows Foundation, for example, clearly states that it supports only projects that are primarily led by women.
Look at past recipients to determine if you are a competitive candidate. If you would like to apply to the Puffin Foundation, for example, but your project does not have a compelling social impact component, look elsewhere for funding.
When it comes to researching funders, think local. All of these foundations described make grants nationally, which means that your project would face broad competition. If you find a grant maker that focuses on your town or state, you can propose a project that meets a specific need that is not being addressed by other arts groups. Also, some colleges have sources of funding for their alumni and many places of worship administer small funds to support education.
Fundraising from institutions is always more time consuming than raising money from people. Still, being forced to describe your project in writing and set a budget can help clarify your goals and priorities. And the imprimatur of a grant from a funder can generate momentum for your work and set you on the path for even more success.
Written by Amanda Keil and first appeared in the November 2013 issue of Classical Singer magazine.
