Operating Support
Operating Support
Operating Support FY18/19.
John White: writer, photographer, retired journalist; Georgette Jones: literature teacher, theatre actor, director, teacher; Marilee Strom: musician, former art teacher, business owner; Kathy Fransen: musician, theatre, Rhythm of the River coordinator; Janet Olney: visual artist, Willmar Area Arts Council coordinator; Joyce Meyer: photographer, retired art teacher, Canby Arts Council; Pam Blake: retired art educator, visual artist, Tyler Arts Council, Lincoln County Art Fair, South Dakota Arts Educators Association, Southwest Minnesota Weaver's Guild; Michele Knife Sterner: theatre actor, SMSU Associate director for Access Opportunity Success program; Tom Wirt: artist, owner Clay Coyote Gallery, Hutchinson Center for the Arts, past member Hutchinson Public Arts Commission; Joyce Aakre: visual arts, writing, Discover Dassel committee, Board member for Litchfield Community Education, Exhibit committee for Dassel Area Historical Society; Kelly Muldoon: graphic artist, Prairie Music Association, Prairie Oasis Players; Dan Wahl: writer, visual artist, director, adjunct English instructor SMSU; Anne O'Keefe-Jackson: human resources director, bead and quill work; Cindy Reverts: visual artist, Rock County Fine Arts Association treasurer, Council for Arts in Humanities in Rock County; Brett Lehman: Worthington International Festival, Worthington City Band, Worthington Concert Association; Reggie Gorter: vocalist, theatre, voice, dance teacher; Dana Conroy: producer, filmmaker; Claire Swanson: visual arts, arts teacher, Meander Art Crawl Committee.
Joyce Aakre: Visual Art, Writing, SMAC Board; Pam Blake: Visual Art, SMAC Board; Mark Bosveld: Theatre, Arts Admin; Steve Linstrom: Writing, Museum Admin; Anne O'Keefe-Jackson: Visual Art, SMAC Board; Liz Rackl: Visual Art, Arts Admin; Tom Wirt: Visual Art, SMAC Board.
ACHF Arts Access
In this grant project period, DBAA will address the overall goal of supporting artists and arts organizations in creating, producing and presenting high-quality arts activities. 1) Our goal is to successfully transition the organization's budget to support partial funding for a director position by sustaining net fundraising income at least $6,000 during each of the next two fiscal years. 2) DBAA's goal is to begin budgeting for reserves equal to 5% of its budget by the end of the grant period in order to make DBAA more financially stable while continuing its mission of presenting high quality arts events for patrons of all ages. 3) Identify audience interests and gather feedback regarding programming and expand the methods of communicating with audiences to inform programming choices and increase. Goal one Method and Evaluation: Build on the success of the current fiscal year's fundraising experiment by planning another large event fundraiser that will net at least $6,000 each of the next two years. Goal two Method and Evaluation: Through regular budget review, the board will evaluate the ability to to dedicate surplus funds to reserves. At the end of each fiscal year, a determination will be made about funds to be designated to reserves. Goal three Method and Evaluation: During the grant period, collect audience surveys at least once each season; use online methods to capture input from attendees; dedicate discussion time with performing arts director, board and membership on audience development. Results of feedback will be shared with board to inform future programming. Use multiple electronic methods to reach potential audiences with more Facebook posts, more fans, more new material on the website.
We essentially reached our first two goals of sustaining net fundraising income at least $6,000 during to support partial funding for a director position, and budgeting for reserves equal to 5% of our budget, despite losing income from two concerts that were postponed this past season. The second goal was achieved through three unrestricted donations that were directed to operating reserves, more than exceeding the goal. Our third goal, to identify audience interests, gather feedback regarding programming, and expand the methods of communicating with audiences was intended to be achieved at one of the postponed concerts, but happened at the August 2 concert instead. We announced that a survey would be available in paper copy in the lobby and that an online survey would be live at the end of the concert on our website and through Facebook. Because we did not hand them out with the programs, we only received 20 paper copy surveys back. The online survey ran for about a week following the concert and elicited 54 responses. We were pleased with our first experiment with survey monkey as an easy and effective tool for audiences to give feedback.
Other,local or private