Proven Success

The Creative Trust program is modeled on a growing number of arts stabilization initiatives that have had considerable success in the United States, England and Canada. These programs have a proven track record and communities that have supported them in the past are now enjoying a flourishing artistic output with stable and financially healthy arts organizations.

MAKING CHANGE HAPPEN
From Creative Trust’s November 2004 Newsletter

In December 2003, eleven performing arts companies in Toronto learned that their applications to Creative Trust's Working Capital for the Arts program had been successful. By January, they were already engaged, with the ongoing support of Creative Trust's consultants, in preparing work plans that would define their commitments to the program. From refining their artistic visions, to revitalizing their boards, to planning for annual surpluses, the tasks identified in these work plans set each company on a course of action leading to real organizational, attitudinal and behavioural change.
     Working Capital for the Arts builds on other “sustainability” models in its combination of respect, support, high expectations and high rewards. Because it's a new type of program, it's no surprise that people are asking "Is it working?"
     It's still too early to compile the measurable financial and other results that will follow the companies' first full year in the program. Yet, even at this early date, there is strong evidence of concrete achievements and real progress. Recent interviews with two participants, Bengt Jörgen, Artistic Director, Ballet Jörgen Canada, and Christopher Kelly, Board President, Toronto Dance Theatre, revealed some of the positive impact Creative Trust is having.
     According to Bengt Jörgen, the program's greatest value has been the leverage it's given the company in raising funs to wipe out their deficit - which they have accomplished, amazingly, in only six months. "The concept of working capital is something people in business and finance understand; the matching of funds, and the fact that funds will be available to help us continue building working capital, allowed us to successfully pursue new funding."
     Creative Trust has clearly galvanized Ballet Jörgen's Board. The company was "already going through expansion and refocusing.

Creative Trust aided the process and validated the work we were doing; it became a support to strengthen commitment to change, and a tool to mobilize efforts."
     Toronto Dance Theatre found special value in their direct consultations with Jane Marsland (Creative Trust's Director of Technical Assistance) and George Thorn (Lead Consultant). Christopher Kelly says the Board became "very focused in the last quarter of our fiscal year on ensuring a break-even" thanks to their guidance and assistance. "The program's requirements for financial balance spurred an additional fundraising activity" (a raffle weekend in Montreal that put them over the top) "and a special approach to donors. Creative Trust became a catalyst," and the Board as a whole was "emboldened to ask for money because of our involvement."
     According to Chris, "Creative Trust has also had a real impact on our thinking, which is more about long term planning than in the past. We're now looking at a 3-5 year period ahead, instead of just at ‘what's next’." Bengt also talks about Ballet Jörgen's planning being pushed further out. "Because the work plan is in line with what we need to do with the organization, we're setting objectives that will lead to pretty significant changes."
     And what about the ultimate reason for Creative Trust's existence: the art? At TDT, participation in Creative Trust has given "everyone a sense that the art, more than anything, can benefit if we meet the program's objectives. It has allowed (Artistic Director) Christopher House to be freer about expressing his dreams for the future." Speaking as Ballet Jörgen's artistic head, Bengt agrees. "The sense of having more capital reduces day to day stress on everyone, including me. It's already generated a sense of space, allowing me to focus on long term artistic planning and freeing my time to spend with the art."
     By any measure, that's success.

Kaeja d'Dance
Buried Monuments
Photo: Andrew Long

Elmer Iseler Singers
Photo: Stormi Greener