"Creating Your Own Project" series - Fiscal Sponsorship

"How Philly Moves" photo shoot (Photo: JJ Tiziou

Freelancers are more likely to start their own projects than company dancers. While those with company contracts spend much of their time focusing their energy towards getting promoted, freelancers often have extra time to flex their creativity muscles. For many years, I have been focused on simulating the season of an annually contracted dancer through my freelance career. As I traveled the world from company to company, I watched many of my other freelancing friends create their own projects. Well, now that I've settled down in Philly for the past 3 months, I've had more time to develop my own ideas and see where they take me. In a handful of coming posts, I'll be sharing more about a project that I am creating. But for the time being, I'd like to discuss fiscal sponsorship, an important aspect of raising funds for your own projects. 

When I first started brainstorming ideas to give myself a platform to work more on my choreography, I knew that I would need to navigate the tricky technique of fundraising. I don't like asking people for financial support and have always had great pride in my ability to do things on my own. But when it comes to major arts projects, very few artists can execute their plans without a solid base of funding. Most people's first fundraising thought darts straight into the land of crowd-sourcing (like Kickstarter, Indiegogo, and Rockethub, which I will discuss in a future blog). While this method of fundraising can be a great supplemental tool, there are many more strategic and fruitful ways to fund a project. 

Initially, the people that are going to provide the base of funding for your work will be your friends and family, as well as people that have shown previous interest in you as an artist. But without the ability to offer tax-deductible donations, you are unlikely to field sponsorship beyond $100. Most people don't mind giving a small amount of money without much benefit for themselves other than the gratification of giving and seeing somebody else's passion project come to fruition. Anything over $100 will be difficult to field without a benefit for the donor. What is the best perk you can give somebody who wants to offer a substantial gift? A tax deduction.

How does a lone individual like me offer tax-deductible donations when I am my one single entity. I'm not prepared to start a non-profit organization or field a board for my very first try at self-producing my art. In all of my research over the past few months, I have found that there is a way that I can offer such benefits to anybody that is inspired enough by my work to help commission my process. I can do this through fiscal sponsorship.

Fiscal sponsorship is when a not-for-profit organization (often 501(c)3) offers a pathway for funds an individual raises to be filtered through their company back to the creator in order to help them offer tax-deductible benefits to donors, often for a fee of 5-10% of the donation amount. Essentially, donations are legally funneled through the organization to appear as if the company is receiving the gift.

Beyond the benefit of receiving tax credits on donations, fiscal sponsorship also allows an individual to apply for grants in a way that they couldn't have before. Again, using the umbrella of the sponsoring non-profit, one can reach out beyond seeking offerings for individuals and apply for grants that are only available to not-for-profit companies. Using fiscal sponsorship, you can open many more pathways to receive larger amounts of funding to make your project a reality.

How do you find an organization to fiscally sponsor you? I did a great deal of research on my path to funding my work. After checking out a handful of potential sponsors, I settled on New York Live Arts (often referred to as NYLA). In order to apply for sponsorship, I had to sign up as an Associate Artist ($100 fee). From there, I had to write a proposal. This included information about my project, its mission, a loose timeline, a budget, and how I planned on raising funds. Once I submitted all of this information, I had to travel to New York City for an in-person meeting to discuss specific details of my project. I was lucky enough that NYLA was happy to fiscally sponsor me with no further questions beyond my proposal.

While I set my sights on NYLA for sponsorship, there are many other organizations that help artists gain a non-profit-like status. Among those I researched were Fractured Atlas and The Field. These organizations regularly offer fiscal sponsorship to artists. Along my path, I also found that you can reach out to any non-profit organization and request that they allow funds to be allocated through their organization. If you have a relationship that could open up this door, be sure to have clear terms on how this set up will work in writing. Every organization will be different in the percentage of funds they keep for helping you out,  how long it takes for that money to be released, how you apply for grants, what type of grants you can apply for, and much more. Be sure that all of this is clear before you sign any contract. Also be aware that you will be responsible to pay taxes on the money that you raise. Keep tabs on your expenses to make sure that you deduct the expenses to minimize how much you have to pay back at the end of the year.

Fiscal sponsorship is a god-send to many self-creating artists like myself. It is very unlikely for most individuals to receive larger donations without offering something to funders beyond your final product. With fiscal sponsorship, you not only open up the possibilities of greater funding, you vastly expand your pool of grant applications. If you ever consider creating your own work; whether for one show, a tour, an installation series, or anything else that inspires you, definitely look into connecting with a respectable non-profit organization that will allow your funds to be stream-lined through their system.

Clearing up the fear of going to classy events

Attending a gala fundraising event for Alaska Dance Theatre w/fellow ADT dancer Sarah Grundwaldt

One of the most interesting things about being a dancer is that you, at times, get to experience the life of luxury. While most dancers can barely afford a modest 1-bedroom apartment, a car, an acceptable computer, and a few dinners out a week, they are expected to dip their toes into the lives of the wealthy and act accordingly. I remember my first event at a donor's house when I was an apprentice with Houston Ballet. Everybody was dressed to the nines, holding a glass of wine in one hand, and grabbing hors d'oeuvres with the other. As I tried to find that balance between figuring out how to act and pretending like I had attended hundreds of these special events, I began my journey into adulthood and the life of a professional dancer.

Most of these events are greatly important to organizations that employ you and pay your salary. At these fancy venues, companies inspire interest and develop relationships that may eventually or already have funded programs, seasons, and artists like myself. While many artists prefer to sit in the corner talking to their friends and colleagues, it is greatly important as a dancer and person that we learn how to reach out and properly conduct ourselves in these situations. For this reason, I have compiled a list of proper etiquette, behavior, and the best ways to approach multiple angles of these events.

- Always read the invite to make sure that you understand the time, location, and type of event.

- Different types of attire:

Casual - Wear something comfortable, but avoid t-shirts and inexpensive jeans that look worn, torn, or old.  Men - maybe a collared shirt or something that isn't a t-shirt. Women - A relaxed dress or nice slacks.

Cocktail - Wear something classy, but nothing like you would wear at a wedding. Men - no jeans, definitely a collared shirt or classy top. Women - same as men with jeans. Wear a cute dress that you

Baby version of me in cocktail attire.

might wear if you were going out with your friends. Add some nice jewelry for flare.

Gala/Black-tie - Men - Wear a suit and tie, blazer, or, if you really want to show off, a tux. Women - A very classy and nice dress or a fancy suit. More refined than something you would wear out on a Saturday night. 

- Arrival - I always love when the first person who shows up to a party is exactly on time. Unfortunately, having been to and thrown many events, I have seen the discomfort on that person's face when they realize they are the first and only person/couple there. If you aren't privy to break the ice with the host or have a conversation with more strangers than friends, being the first to arrive is probably not for you. I would suggest showing up about 30 minutes late if you feel this way. Within an hour to an hour and a half of the party starting, there is usually a speech or something important happening. Try to arrive by the end of the first hour at the latest. As long as you show up by a reasonable time, though, nobody will bat an eyelash at you. Just have an, "I had another amazing event to go to first," excuse.

- How To Act - One thing that most people are worried about is that they have to be on their best behavior. Yes, you have to be respectful to the host, come off as interested and knowledgeable about your field, and remain social. But you shouldn't change your personality, completely avoid disagreeing with a view/opinion, or worry about doing the wrong thing. Don't pretend to talk about something that you don't understand. If you don't understand, ask for more information on the topic. This will show you are engaged and eager to get to know somebody. In the end, while people at these events may feel elite, they are still human beings with concerns, faults, and eccentricities.

- Don't get wasted. If you accidentally go a little overboard, though, it is not the end of the world. Unfortunately, you will find that there are a few people at every major event that get a little too toasty. If this happens at each and every event, you may start to get looks and become the avoided one (maybe consider checking into AA). But nearly everybody at these events has had a moment. Just don't knock over any million dollar vases. And, of course, make sure that you have somebody to drive you home safely.

- While this isn't a requirement, most people feel most comfortable with a drink in their hands. If you want to slow down or don't drink, get something non-alcoholic. If you don't want to feel pressure from people, lie to them and tell them that your water is a vodka soda. Nobody will ever know.

- One thing that drives me nuts is how people get embarrassed about eating at parties, especially with a drink in their hand. If you are hungry, eat. Alcohol is often flowing at these parties to liquor up donors and convince them to donate money/relax and enjoy themselves more. If you don't eat, you may have one of those moments I was talking about above. There is nothing wrong with finding a corner where you can put your drink down to use your hands to eat. It can be difficult to eat at a stand-up party. If somebody asks you a question while your mouth is full, hold a finger up, laugh it off, and joke about it. There is no reason to be uncomfortable eating, as everybody is in the same position and it is not easy to eat with one hand free.

- Make sure that you don't venture into a part of the house that may be off-limits. Many donors have expensive items that they want to protect or they want to keep the party compact. You don't want to be the reason that a donor stops holding events at their place.

- While it is perfectly acceptable to spend some time talking to friends/colleagues, don't stand in a closed circle the entire time. Potential donors come to these events because it is their chance to feel like they are an integral part of an organization. If you aren't comfortable meeting donors on your own, grab a friend and walk around with them.

- To start a conversation, ask somebody how long they have been involved in an organization. My favorite go-to ice breaker when an event is directly after a performance would be, "What was your favorite part of the program?" While you may know nothing about each other, you at least have one common interest, dance.

- Don't talk about yourself the entire time. Donors are usually interested in hearing what a dancer has to say. But they usually connect with dancers that also express interest in what they do. Mutual interest is much more engaging than egotistical self-promotion.

- To exit a conversation, you can say that you want to mix and mingle more. If the conversation has become increasingly difficult to exit, it is easiest to excuse yourself to use the restroom.

- If there isn't a clearly marked end time, feel when the crowd is starting to dwindle. Try not to be the last person at the event, unless you know the person throwing the party or if they have engaged you in conversation. Keep an eye on social cues from people who are trying to be nice, but really want you to leave.

The only ways to truly embarrass yourself at a classy event is to become way too intoxicated or to completely isolate yourself with your friends and stay closed off in a corner while ignoring donors. Everybody has broken a wine glass, been approached with a mouthful of food, stumbled here or there, or made an off-the-wall comment. If you follow these guidelines while attending a high-level event, you should be fine. But if you read all of this information really closely, you'll find that most things are acceptable and that accidents do happen and are most often acceptable. Go prepared to be social and to enjoy yourself. Don't avoid these events. Not only can they be the most memorable events in the most amazing venues, but they can also form relationships with donors that may lead to friendship, promote your career, and support future work inside and outside a company.

Two close friends & donors, Ray Hoekstra & Dan Drummey, at Pacific Northwest Ballet's gala event in 2006

Do's and Dont's of freelancing

Introducting myself at Alaska Dance Theatre's 2013 gala event

 I apologize for the longest delay in posting since the inception of Life of a Freelance Dancer! Aside from preparing for Alaska Dance Theatre's Cash & Cline program, I have been teaching about 8 hours a week in their school, and preparing a 2-part, 4-hour lecture series on Career Development for the students of ADT. I am assuming that my audience would be forgiving as I prepared to pass on my knowledge of dance on to potential company, college, and freelance dancers. With that said, I'm glad to be back focusing on my blog. To kick things back off, I have created a list post of the Do's and Dont's of freelancing. Enjoy!

DO be open to trying new things (locations, styles of dance, non-dance activities, etc).

DON'T keep quiet about the big things that make you comfortable or uncomfortable. For the most part, everybody wants to work in a comfortable environment. Most employers work very hard to make a freelancer feel at home and a part of the company.

Driving along Cook Inlet towards Girdwood, AK (Photo: Beth Maslinoff)

DO take advantage of the places that freelancing takes you. I have seen many artists travel and only stay in their hotel room, only travel from their host family's house to work and back, and spend their weekends staying local. Who knows the next time you will be in the town that work has brought you. Take advantage and see what the place has to offer!

DON'T show up to a gig completely out of shape!

DO remember to pace yourself. If you show up to a gig too exhausted from previous work, overzealous, or over-prepared, you may burn out or become injured. If you come into a new rehearsal setting and constantly dance at 150%, you may injure yourself. Remember that you are in a new atmosphere with different floors, walls, and mirrors. There are new dancers, new styles, new approaches to dancing. If you become injured, not only are you jeopardizing your potential to work there again, you are also putting the company in a difficult place.

DON'T lie about your current physical state. If you have an injury, be up front and honest about it. If you are recovering from an injury, you don't necessarily have to tell them you had that injury, but if it flares up be sure to say something. Any good and moral employer understands that injuries do happen in the dance world and are usually more than willing to work with you and help you out.

DO find ways to develop yourself beyond dancing. I was lucky enough to get my Associate of the Arts degree from Seattle Central Community College while dancing with PNB. Also, as I stated above, I gave one part of a 2-part lecture series on Career Development for dance students this past weekend. Being given this opportunity by the wonderful staff of Alaska Dance Theatre to develop this workshop gives me a tool to make added income throughout the year. I can offer this workshop to students across the country.

DON'T try to dance for 52 weeks every year. Your body needs a rest. I believe that no person should dance more than 2-3 months without a week or two off. I believe this is one reason my career has successfully lasted 10 years to this point.

DO be gracious towards your employers. They chose to hire you over many other dancers. Whether it be an honest verbal thank you, a short note, or a follow-up email, let your employer know that you are appreciative and what you will take away/remember from your time working with the company.

Dan, Joerg, and myself - Hanging out w/a great friend I met at PNB events

DON'T be anti-social. If you are dancing with a company, try to get to know the dancers around you. If you are invited to an event, don't sit in the corner sipping on a glass of wine. Freelancers are often exciting and intriguing people, especially to patrons and potential donors. Make dance connections and make non-dance connections. It will benefit you emotionally and could even lead to friendship/support/sponsorship down the line.

DO reevaluate whether freelancing is right for you often. Freelancing is too hard to just go through the motions. You are constantly adjusting to new environments, leaving home, and putting yourself on the line. It is easy to lose sight of your goals and get into a bad routine. If you are no longer enjoying the spontaneity that is a requirement of the job, it may be time to reevaluate your goals.

DON'T change everything about your dancing to conform to a new company. Fit in and don't be disrespectful, but stay true to yourself. You got hired because there was something interesting about your dancing that drew the director to hire you

DO ask a company to help you with things you will need once you arrive. I require wireless internet when I travel. I will be miserable without it at my residence. I also need transportation if Im not staying in a highly urban area. If there is no gym at the studios, I ask if they can get me a gym membership nearby (or at least a discount). Ever since I worked as an AGMA delegate with PNB, I have been a major advocate of asking directly for the things you need (emotionally and physically).

DON'T drink too much at events, while staying with a host family, or on a work day. While freelancing, you only have a short period of time to make a lasting impression. From a few days to a few weeks, the people you work with will only remember you for what you did during that short period of time.

DO smile and laugh. This may seem super shallow, but employers are drawn to dancers that are happy. The more you smile and laugh, the more likely an employer will enjoy your presence. Try to do this genuinely.

DON'T take work without a clearly defined contract. If you start working without a contract, you are not protected from anything that happens. If you are not paid or paid a different amount than you agreed to, you have no proof that you were ever supposed to receive that payment. If your duties on a gig change (e.g you are given an added role to replace an injured dancer), make sure you are compensated for the added duties. Don't rely on the word of an employer as an agreement for additional pay.

DO take class regularly. Your body and technique are your product. Since you are only seen during your time at a gig, you are only as good as you currently are. If you let your technique slide for a moment, your employer doesn't know that you are a better dancer than you appear.

DON'T lose contact with your loved ones, family, and friends back at your home base. When you are finished your gig, you still have relationships waiting for you when you return home. If you don't maintain them while you are away, they may not be there when you get back.

DO have a voice. Most employers want to take advantage of your outside knowledge. You can help them as much as they can help you. Just be aware of the right times to speak up and the wrong time. Being a freelancer, you have more say in the work you do than a company dancer.

DON'T cross certain boundaries with students/underage dancers. There are obvious reasons for this. It is in your best interest to remain friendly but keep your distance. When you are freelancing with a school, perhaps dancing with a top student, you do have to develop a comfortable camaraderie with your partner. This is where it should end. I am always sending messages to students at schools on Facebook stating, "It was so nice to meet you during the Nutcracker. Thank you for requesting my friendship, but unfortunately I do not accept friend requests from anybody under the age of 18. If you would like any dance advice, feel free to email me at my email address. Good luck!"

DO find ways to keep pushing yourself as a dancer. At times, freelancing means that you are doing something that you have done before or with a school that only has students in their production. I sometimes feel like I am only hired to bring the level of an organization up, especially when dancing in a school production. Afterwards, I often feel hungry for an opportunity to perform work that is bringing my dancing to a new level through challenging work or dancing alongside high-level professionals that inspire me. I am always trying to find new ways to challenge myself, even when I'm dancing with a student in the 5th show of a production that is easier than work I've done in the past.