How to work the crowd : a snapshot of barriers and motivations to crowdfunding

Introduction This study is a snapshot of Australian donor motivations and donor barriers to crowdfunding, and provides some indicative recommendations on ways the uptake of crowdfunding in the creative industries might increase. It is based upon a literature review and semi-structured interviews with 17 stakeholders who have used crowdfunding in Australia, including: creative producers seeking funds; financial crowdfunding donors; Artsupport Australia mentors of artists who are using crowdfunding; and crowdfunding site stakeholders. About the report Artsupport Australia commissioned the Queensland University of Technology Creative Industries team to produce a report on trends related to crowdfunding, particularly identifying barriers and motivations that might be associated with it. Artsupport Australia suggested a list of interview candidates, based on those individuals’ knowledge or experience with crowdfunding, to provide a better understanding of perceptions of this emerging practice, and to inform discussions on whether it is a useful revenue generating mechanism for the cultural sector.

Motivations and barriers to crowdfunding

This modest study is a snapshot of Australian donor motivations and donor barriers to crowdfunding, and provides some tentative recommendations to Artsupport Australia on ways crowdfunding uptake in Australia might increase. Limited qualitative data was gathered from 17 participants who have used crowdfunding in Australia such as: creative producers seeking funds; financial crowdfunding donors; Artsupport Australia mentors of artists who are using crowdfunding; and crowdfunding site stakeholders. These recommendations contribute ideas for development and implementation that align with the Australia Council for the Arts priorities, particularly to ‘build programs that support artists through all stages of their careers and to increase support for the arts from the business and general community through cultural philanthropy’ (Artsupport Australia website).

Ann Eliza Hepburne Rooth fonds, 1837-1897

Ann Eliza Hepburne was born in Chippawa, Ontario, in 1821, to William Hepburne and Susan Shannon. In 1842, she married William Anthony Rooth in St. James Cathedral in Toronto. They continued to live in different parts of the Niagara region, including Drummondville, Welland and Port Colborne. William was the editor and proprietor of the Drummondville Reporter, as well as an accountant and insurance agent, and later worked for the Customs Service in Port Colborne. He died in 1878, and Eliza in 1899. Both are buried in Drummond Hill Cemetery in Niagara Falls, Ontario.

Communication challenges for partner organisations

Many people not directly involved in developing, maintaining and evaluating business–community partnerships tend to assume that such partnerships are one of two types: an add-on to an organisation’s core business or a fundraiser for an NGO. There are lots of examples of these two categories of “partnership” around the world, but there are considerably fewer of a third type – where the partnership is part of “core business” and as such is deeply embedded in the more forward-looking companies and community organisations that implement them, and also achieves significant internal impact. This situation raises some interesting communication
challenges.

The Development of Coaching Knowledge

Coaches are known to fulfill many different roles including leader, psychologist, friend, teacher, personnel manager, administrator, fundraiser and role model. The papers presented in this special issue emphasize these different roles by highlighting how coaches learn and how they foster an optimal learning environment. In the first section of this discussion article, I will briefly summarize the main issues covered in the five target papers. I will then propose that the learning environment of coaches needs to be put into a larger conceptual framework that would allow one to account for the variability of experiences that coaches go through before becoming a coach. The third section of this paper will describe three different settings in which coaches learn their skills. Finally, I will offer some concluding remarks and briefly outline directions for future studies.