Social Currency


Great art is often created without lots of money and can be enjoyed for many years. Great arts organizations without the right kinds and amounts of money, however, struggle to see another day.

Mission success for nonprofit arts organizations is reflected in the creation, sharing and appreciation of meaningful work.  Each organization has a different artistic vision and goals, as well as its own strategy for reaching and engaging audiences.  Behind every successful organizational strategy there should be a sound approach to obtaining and stewarding the financial resources required to support mission execution over time. This is a capitalization plan. At its essence, a capitalization plan serves as a roadmap for ensuring an organization has the cash and other assets it needs to manage risk and pursue opportunity.

Strategic plans often lack a rigorous financial foundation. They fail to consider the long-term financial resources needed to support program goals. And when they do include a financial plan, they often conflate regular revenue (ongoing) with capital (periodic), or neglect capital needs altogether.  While financial projections that quantify the future revenue and expenses associated with a strategy are critical components of any strategic plan, they are not enough.  Consideration must also be given to the organization’s long-term balance sheet –or capitalization– needs. 

A capitalization plan is really just an approach to building the right balance sheet. It should consider the kinds and degrees of artistic and organizational risk an organization can and wishes to tolerate, as well as the creative ambitions to which its leaders aspire.  Specifically, a capitalization plan should address an organization’s financial health and goals in the following three areas: liquidity, adaptability and durability.

  • Liquidity: having adequate cash to meet ongoing operating needs
  • Adaptability: access to flexible funds to adjust to evolving circumstances
  • Durability: assets to address a range of future needs

Capitalization planning is not one-size fits all

While the amount of adequate liquidity may differ by organization, cash is king for all nonprofits, regardless of size. Many organizations also need periodic access to flexible capital to pay for adaptation –whether related to growth, restructuring, program revitalization or even downsizing. 

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Last week, my colleague Emily Upstill wrote about the need for nonprofits to “right size” their mission in order to better communicate what they can (and can’t) realistically accomplish. This post focuses particularly on the issue of funding your nonprofit’s investment in data collection and outcomes measurement. What are the financial implications for nonprofits dealing with the pressure to measure and report outcomes? 

First, how did we get here? 

The language of “investment” is inaugurating a paradigm shift for nonprofits. As the philanthropic sector continues to evolve, charitable giving is adopting a Wall Street lexicon—and this trend will only intensify as nonprofits compete for diminished resources to serve increased needs. Foundations produce logic models asking grantees to demonstrate their long-term outcomes and impact while venture philanthropists and social entrepreneurs encourage “informed donors” to ask about their contribution’s return on investment. 

In the most clear-cut example, Social Impact Bonds (also known as Pay for Success Projects) set forth a defined investor role, one whose returns materialize only when the participating nonprofits can quantifiably demonstrate successful outcomes. NFF recently hosted a webinar on Social Impact Bonds, in which Jeff Edmondson, President of Strive, succinctly summarized the shift, “As we move from a charity mentality to an investment mentality, social impact bonds reinforce the need to use data to drive impact.”

For these philanthropic investors, funding decisions favor nonprofits able to prove their impact with data. At the same time, we’re seeing many nonprofits, formerly dependent on government funding, working in unfamiliar territory to court more individual and foundation supporters. As a result many nonprofits harbor uncertainties about what data and provable outcomes are expected of them.

What’s a nonprofit to do?

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Twenty-five percent of annual operating expenses. That’s what the National Center for Charitable Statistics recommended in it's Operating Reserve Policy Toolkit for Nonprofit Organizations, published in September 2010 in partnership with the Center on Nonprofits and Philanthropy at the Urban Institute and United Way Worldwide.  Grantmakers in the Arts, in January 2010, launched their National Capitalization Project and at their October meeting in Chicago released a summary document which stressed the importance of well capitalized organizations and added, “…we repeatedly came back to the fact that the most common source of capital is accumulated surpluses. We agreed that getting organizations to achieve a surplus would require encouraging a significant shift in nonprofit practice and culture, a challenge we thought well worth undertaking.”

Nonprofit Finance Fund has long been a proponent of healthy balance sheets, but as the reports and recommendations mount, it’s clear that NFF is not alone in suggesting a course of action that considers the creation of reserves.  While reserves alone do not comprise total capital structure, they are an indicator of the degree to which an organization is prepared for the day to day and long term challenges they may face.   Capital structure is the nature, composition and magnitude of the assets, liabilities and net assets comprising the balance sheet – or in other words the financial and physical platform from which the organization’s mission is accomplished.

The provocative question is, how will nonprofits develop healthier balance sheets?  And perhaps more pointedly, how patient are we willing to be?  While generating operating surpluses may be ideal, it will take time and patience to realize a well capitalized sector utilizing this approach.  Our third annual national survey of over 1900 nonprofit leaders (funded by Bank of America) is telling on this point: 

Nonprofit Finance Fund

Annual Survey of Nonprofits 2011 (excerpted) 

All Nonprofits

Arts Nonprofits

Organizations reporting break-even or deficit levels in 2010

56%

59%

Organizations expecting 2011 results at or below break-even

70%

73%

Organizations closing the year within a 5% margin above or below break-even

56%

59%

Organizations expecting 2011 results within the 5% margin

60%

66%

Organizations with 3 months or less of cash in reserve at the time of survey (early 2011)

60%

65%

So, is capitalization via accumulation of operating surpluses the answer?  In simple terms, if we are waiting for the sector to build (or re-build) balance sheets independent of new philanthropic dollars, it will take a minimum of five years for those functioning at the 5% surplus level to generate even the equivalent of three months of additional cash reserves.

At NFF our recently released paper, The Case for Change Capital in the Arts, sets out a series of definitions, strategies, and sample cases from our work with Leading for the Future (funded by the Doris Duke Charitable Foundation) that can inform the conversation about capitalization.  In today’s economic environment, in the midst of the conversations and changing dynamics in the field about capitalization for nonprofits, the time for an equity ethic, an embrace of philanthropic equity if you will has arrived.   While we have many tools to teach nonprofits how to create new strategies for operating that generate surpluses, the sector has been struggling for a long time with inadequate capitalization.   Asking nonprofit leaders to generate operating surpluses to build healthy balance sheets will also require asking ourselves if we are providing the proper support for that expectation to be realized.

Last week, we published a series of documents stemming from the early results of our Leading For the Future initiative, funded by Doris Duke Charitable Foundation.  You can download the Case for Change Capital in the Arts here and the companion document, Financial Reporting Done Right, right here.  Together they showcase the lessons of the work done so far and provide a road map for foundations and their grantees who might like to put some of the lessons into practice themselves.  The Case for Change Capital in the Arts made Nell Edgington's 10 Great Social Innovation Reads for May and got a thorough airing on Andrew Taylor's Artful Manager blog as well.   

In late April, we gathered the participants in the initiative together in New York City to talk about how their capitalization experiments are going.  We had a chance to interview two of the organizations in greater depth.  Earlier this week, we posted Rebecca Thomas' interview with Charles Dillingham of Center Theatre Group.   Below, you'll find Rodney Christopher's interview with Polly Carl and Martha Lavey of Steppenwolf Theatre Company who share how they've invested their change capital over the last two years.  

 

Last week, we announced a new series of publications laying out an approach to providing and accounting for influxes of capital in nonprofit organizations, with a particular focus on arts organizations.  The publications stem from early results we're seeing from a five-year initiative called Leading For the Future, which we've undertaken with support from the Doris Duke Charitable Foundation. (Read more about it and download those publications here!)  In April, we held a gathering of the arts organizations participating in the initiative, and we had a chance to talk to two of the groups, Steppenwolf Theatre Company and Center Theatre Group.  Below is the interview our Rebecca Thomas did with Charles Dillingham of Center Theatre Group:  

The controversy over the Social Innovation Fund’s potential conflicts of interest and opaque grantee selection process was the talk of the philanthropic chattering class in 2010. This, in turn, has led to increased transparency by the SIF as it readies for the next round of growth capital investment.

Yet in all the discussion about policies and procedures, we’ve missed the opportunity to have a robust discussion about organizations’ financial readiness to scale, whether scale is defined as increased size or impact. Now, as grantmakers ordained by the SIF to “scale what works” get down to the business of identifying and supporting promising agencies in their efforts to grow, it’s worth remembering that doing more or doing better requires a profitable business model supported by a healthy  balance sheet. Financial stability is a necessary precursor to successful scale.

For many nonprofit institutions, readiness for growth will require an infusion of “recovery capital” first.  Simply stated, recovery capital is the money needed to invest in infrastructure that has been neglected and liquidity that has been used up during previous periods of change or expansion. Recovery capital is important because it builds a solid foundation on which to base future growth.  

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Following NEA Chairman Rocco Landesman's recent blog,  we at NFF wish to share some additional observations informed by our own financing practice in the arts. 

Chairman Landesman asks anew whether there is an “oversupply” of nonprofit cultural organizations and proposes a handful of ideas for increasing “demand” for the arts. On the supply side, he suggests that funders like the NEA invest more in the most creative and dynamic organizations, regardless of their budget size. On the demand side, he offers ideas for increased audience participation and questions whether the field needs to become more “lightly institutionalized” in order to get more creativity to more audiences, ostensibly at lower cost.

The notion “that bigger is not always better” is a tenet long held by NFF as we seek to capitalize and advise organizations for greater impact, not necessarily greater growth or proliferation of activity. We also often work with our clients as they consider what kinds and amounts of infrastructure they will need –whether it be for staff, facilities and increasingly, technology –for a future characterized by very different audience expectations and demands.

The conversation about supply and demand in the sector would greatly benefit from an equally passionate debate about the breadth and amounts of capital required to support change on such an environmental scale.

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