What happened to corporate arts sponsorship in Aotearoa?

It’s no secret the underfunded arts world has a reliance on private and corporate philanthropy. But since the heady days of the 1980s to the 2000s when corporate sponsorship of the arts was widespread and encouraged in New Zealand, support has waned to varying levels.

Despite stand-out organisations leading the charge, including, historically, Montana Wines, Forsyth Barr, NBR, Telecom (now Spark) and Chorus, even now, sport is often favoured over the arts when it comes to corporate sponsorship. Commentators say part of this is down to how businesses think it’s best to tap into customer bases – but they also say the arts remain relatively untapped and productive when it comes to helping marketing and brand enhancement.

Back in early 2000s, under former prime minister and arts minister Helen Clark, festivals had full naming rights (like the Telecom NZ Festival), but now, arts organisations were supported by fewer and quieter brands, said Jo Blair, the lead for the Arts Foundation and founder of social change agency Brown Bread.

But the arts and corporates can have mutually beneficial relationships – having household brands able to spread word, sell tickets and profile programmes is of huge benefit to events, while the arts offer businesses exposure to a variety of audiences in a variety of places – not just a game in a stadium or on TV.

It had, up until recently, been astoundingly easier to bring brands on board to support non-arts causes, said Blair, but an “awakening” had been taking place in which businesses were understanding the value of the arts and creativity to their staff, clients and society.

Despite private philanthropy for the arts growing considerably since the late 1990s, the arts are often overly reliant on major donors like the now-disgraced James Wallace, a millionaire patron who this week had his knighthood removed after being convicted for indecent assault on three young men over a near two-decade period.

To have a healthy funding ecosystem for the arts across government, philanthropy and business, brands needed to step up and lead, said Blair. But even then, some brands like Ockham Residential funded the arts more out of generosity and the belief the arts could be transformational for health and wellbeing.

The arts were forced to rely on contestable Creative NZ grants and other money through lotteries and the NZ Community Fund because of the lack of commitment from businesses. If corporates were willing to think long-term, they could help deliver something “much bigger” and more valuable to society, said Blair.

Ryman Healthcare, a major sponsor of the Royal NZ Ballet and the Auckland Philharmonia Orchestra among other arts organisations, says its residents are passionate about and interested in the arts, and so investing in accessible art is therefore central to its kaupapa, said its chief executive Cheyne Chalmers. “Our villages are filled with examples of this from pantomime groups, ballet classes and art classes.”

More companies wanted to get behind the arts but it’s a double-edged sword in that businesses felt other ventures could typically offer greater returns on investment, said Georgia Mahaffie, the head of brand and marketing at One NZ. But equally, the arts needed more funding to showcase its value at scale. “Finding the right balance can be tricky.”

One NZ has this year partnered with the Arts Foundation for the Arts Foundation Te Tumu Toi Laureate Awards honouring nine exceptional artists shaping the artistic landscape of Aotearoa, and making a significant impact on their respective communities and practices.

Mahaffie said the awards signify not only artistic brilliance but also the profound contributions artists make to our society.

“Art in all its forms, is incredibly powerful and is influencing us every single day whether we realise it or not. A bit like the Devil Wears Prada scene with the blue sweater, you might not think it but you’re a part of it already. That in itself is a huge barrier the Arts Foundation are trying to break down. But, especially in time of great change, art can capture and express what it felt like to exist in a particular time, so there’s no time like right now for the arts to shine and for corporates to get involved. “

Richard Howarth, from specialist partnerships consultancy Honoco, said sponsorship was the most emotional and flexible form of marketing. The arts inspired, told storied and captured people’s attention. And some brands were now looking for partnerships that would make a difference to society as well as strongly resonating with their audiences.

As much of the arts weren’t broadcast live and therefore weren’t conducive to old-fashioned media metrics, corporates had historically been more likely to say no to partnering with cultural organisations, said Howarth. A lingering perception that the arts were exclusive or inaccessible to some New Zealanders was also contributing, despite people engaging with culture in a myriad of ways on a daily basis.

The funding needs of art goes beyond what the taxpayer can support and revenue from ticket sales and admission fees, said former prime minister Clark. Corporate sponsorship “helps to fill that gap”, she added. “Businesses who embrace the opportunities offered by sponsorship of the arts do so recognising both the two-way benefits of that and their role as part of society which itself is enriched by vibrant arts and culture.”

In partnership, corporates could help arts organisations with marketing, promotion, and business management practices. In return, their clients and staff were able to get memorable and exciting experiences at performances and exhibitions – something that also helped grow audiences for the arts, said Clark.