This master thesis focuses on the researching of the relative importance of the motives and mechanisms that play a role in the process of the realization of monetary gifts of major donors to art institutions. In the first part of this thesis a ‘theoretical chain’ is created that helps to understand what motives and mechanisms could play a role in ‘cultural gift giving’ and what positions a patron could (want to) take within the cultural field. This chain is largely based on the gift theory of sociologist Aafke Komter, the
mechanisms that, according to René Bekkers and Pamala Wiepking, mainly drive charitable giving and the ideas of Pierre Bourdieu about cultural and symbolic capital and the cultural field. In addition, the differences between (patronage within) the performing arts and the visual arts are being explicated, because scientific literature suggest that there might be differences between patronage within several art forms. In the second part of this thesis the theoretical chain is used to analyse the results of interviews conducted with eight major donors of two major Dutch art institutions (Het Concertgebouw and Het Rijksmuseum) and their fundraising employees. The results of the analyses show that the key value of a successful relationship between a major donor and an art institution is ‘trust’: the amount of trust the donor has in the institution. This trust, that can persuade potential donors to make a donation, is mediated by or can by generated by the means of the ‘solicitation’ for a gift and the ‘efficacy’ of the institution. The more transparent the institution is about what they want from the donor and what they (will) accomplish with the donor’s money, the better. In addition, the material ‘benefits’ and services the donor receives in exchange for his donation are very important, because they help the donor to achieve cultural competences, (cultural capital) personal growth, a sense of satisfaction and other ‘psychological benefits’ as result of the donation. These ‘psychological benefits’ are the main motivations for donors to donate. When great satisfaction on the side of the donor is achieved and the donor has been able to convert the received benefits into ‘symbolic capital’, donors most likely feel encouraged to urge others to make a donation too. This is done however solely within their own circles, because donors are not comfortable with being too open about their donations. Therefore the exact extent to which ‘reputation’ (the search for status and prestige) is being used as a motivation to donate remains unclear and needs further research. Finally, no significant differences were found between the major donors of Het Concertgebouw and Het Rijksmuseum, meaning we may not assume (based on this study) that there is a difference between patronage within the performing arts and patronage within the visual arts.

Onderwerpen: 2000-2020 geven aan culturele instellingen motivatie

Auteur: Sophie Jansen MA