Європейські моделі фінансування культурних проєктів

Abstract

The article considers fundraising practices in the cultural space of European countries and the possibility of their adaptation to modern Ukrainian conditions, which is extremely relevant today. Despite the emergence of systematic practice and the theory of fundraising in the American cultural context, it is the European experience that forUkraineis extremely relevant. After all, the US practice is aimed at financing culture from mostly private sources without public funds, while the European experience of fundraising has developed in a significant (albeit different and variably organized in some countries) public funding. We are talking about various forms of combining state and borrowed funds, which is more in line with domestic traditions of financing culture. The article is based on: theoretical developments in the field of fundraising; analysis of open sources on European and Ukrainian experience of fundraising in the field of culture, theater practice; analysis of modern Ukrainian theatrical practice. The authors of the article note that in the current conditions for cultural organizations as non-profit there are tasks of finding different sources of funding, diversification of their activities. These tasks are extremely acute for state cultural institutions. At the same time, the current management mechanisms in the field of culture do not always meet current needs. These factors, as well asUkraine's desire to be organically involved in modern European cultural processes, stimulates increased attention to the world experience of organization and financing in the cultural sphere. In this context, today the strategy of fundraising is becoming increasingly popular as a specific method of finding sources of funding, activities to attract and accumulate external sources. It is important that in the field of culture fundraising is aimed at financial and material support of the creative process, as well as to perform certain social tasks, such as conducting cultural and educational work; study, preservation and protection of museum collections, architectural monuments, etc. The article emphasizes that for the theatrical space these are additional opportunities for propaganda among the widest general public of theatrical art as such, organization of special actions, conferences, festivals by theatrical institutions, stimulation of topical avant-garde art experiments. Therefore, the consideration of fundraising practices of European countries in the cultural space and the possibility of its adaptation to modern Ukrainian conditions seems to be extremely relevant. The problems and issues addressed by the authors of the article allow to state the urgent need for thorough art, cultural, practical research, devoted to a comprehensive analysis, the statement of foreign and domestic experience of fundraising in the performing arts.