Francis you stated in the first post: <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>In the U.S., established arts institutions (major symphony orchestras, opera companies, ballet companies) have tended to arise as the result of efforts by an individual or a group of individuals. By contrast, in Canada, arts organizations have been heavily subsidized by government entities.<HR></BLOCKQUOTE><P>Maybe I'm misinterpreting this, but in Canada arts organizations do come about as the result of individuals or a group of people. It sounds like what's being said is that the Government has kept arts organizations together, which is not the case. An application for a society has to be brought forth by a group of people (this is particular to British Columbia but is similar to the other provinces), no less than five, and I believe, but don't quote me--three of whom must be at arms length from one another (that's in legal terms all of you smarty pants out there!
), in order to incorporate an organization as Not For Profit (which is similar to the Non-Profit label you have in the U.S.). These companies are expected to survive from one to two years on their own before they qualify for any kind of funding and politics being what they are, it's often longer. From what I've heard, larger companies, I'm thinking specifically of the big ballet companies, were established before government arts funding existed.<P>Also, arts organizations in Canada are expected to show where they have made an effort to fundraise in their applications for government grants. Companies cannot depend on 100% government funding. If they did they would run the risk of getting no money at all or a substantially smaller amount than they have applied for. As an emerging artist in Canada, I think I speak for a lot of us who can barely envision project funding let alone an operations budget through government grants. For Canadian arts ogranizations there is definitely a need to have high profile board members for political clout within the government granting system and now they must also have influence within the private sector, as you require in the U.S.<P>It's true that traditionally private individuals or enterprises in Canada have given much less to the arts than in the U.S. <BR>Fundraisers are seen as a necessity, for example The Dance Foundation which was created to raise the necessary monies to build and operate the Vancouver Dance Centre. <P>I'm interested to know why you think "Anglophiles drip contempt at the U.S. style of fundraising"? And why Anglophiles, particularly, as opposed to Francophones? I don't know many artists, English or French, who would turn their noses up at money, no matter how it was raised. <P>As for educating your Board, this has given me an idea. I think I will make a short video or CD Rom of dance clips for my board. Quite frankly, I don't think I would give them Dance Magazine or even Dance International which is kind of Canada's "dance magazine". I don't think print is very stimulating for people who don't actively go to see dance. Since I'm not 'high profile' this has been the hardest part for me in organizing a board for an entity that has barely begun to exist; convincing people that 'dance really is interesting' and that they really do want to schedule more meetings into their lives...<BR><p>[This message has been edited by Marie (edited January 21, 2001).]