In less than two years, the funding programmes at Arts Council Malta have gone through a massive reorganisation which saw the setting up of a new team, as well as a number of other changes. This is what goes on behind the scenes.

Just two years ago artists looking to fund a project could apply for one main fund, the Malta Arts Fund. With an allocation of around €400,000 spread over four different strands, the fund – which had a general focus on artistic excellence – functioned as a catchment for the entire cultural and creative sector in Malta.

Fast forward two years and there are now nine funding programmes – some with a number of strands – with an annual allocation of €1.5 million. While these include a newly-redesigned Malta Arts Fund, they also range from seed funding to funds focusing on artistic development or community outreach. All are informed by the Council’s five main strategic tools – internationalisation, education and training, diversity and communities, business development and professionalisation and research.

The team, too, has developed to reflect these changes. Perhaps the biggest and most obvious innovation was the introduction of two ‘creative brokers’ to the team, whose job it is to actively inform and guide prospective applicants until the application process.

They also take on a more proactive role, actively visiting key centres such as Mcast and the University and facilitating collaborations with other entities. The brokers also organise the ACMlab series –monthly talks that were introduced this year for creative practitioners and that focus on key issues faced by the sector.

Elaine Falzon

Once the applications are received, they are processed by the fund administrators and then enter the evaluation process. Both the brokerage and administration teams are coordinated by Elaine Falzon, head of the Funds and Brokerage department, which also oversees the procedural side of the funds.

While the team is common to all the funds, each specific funding programme also has its own fund manager – usually an associate from the council’s strategy team.

The fund managers not only decide the fund’s criteria and content, they also follow up the funded projects to ensure that they are abiding to the fund’s conditions.

“So there’s a guarantee of assistance at various stages of the process,” says Elaine. “Everybody pitches in at different stages and the process is much more structured and coordinated.”

The project’s ownership stays with the artist. We merely follow the concept that is presented to us

While last year saw the creation of new funds and the restructuring of previous ones to reflect the council’s strategic aims and to standardise procedures, this year the team has been focusing on introducing a number of important changes.

The past few weeks have, in fact, seen the first pitching sessions – applicants for specific funding programmes were invited to present their project concept directly to the evaluation board, who could then ask questions. The concept has worked well so far,” says Elaine. “For the artists, it’s an opportunity to bring the project to life as well as involving other members of the team.

“It also helps them engage more with the project and with the application process. And of course it also helps the evaluators get a clearer idea of the project.”

The council recently organised a pitching training session for applicants to the KulturaTV programme.

The Tree of Life

For the first time this year, too, the council issued its first open call for evaluators, which will stay open for three years, in a bid to increase transparency. Around 65 applications were received at the time of going to print. The structure is flexible, with evaluators being able to opt in and out of the register at any point. The council, too, reserves the right to contact additional evaluators to ensure that the necessary level of expertise is reached. Also, in a bold new move, the names of those evaluators commissioned will be published at the end of the year.

The way results are communicated has also been revised. While, previously, rejected applicants would receive a standard letter with no clear explanation of why they failed to make the cut, applicants now receive more detailed results, including the marks awarded to their project concept by three evaluators, an overall average and placing and comments under each section.

And, when the successful projects are implemented – their monitoring, too, has been strengthened. With some – as in KulturaTV – external mentors have been engaged. The disbursement process, too, has been modified. While previously all the funds were paid immediately when an application was successful, now, with some of the funding programmes, only 70 per cent of the funds are paid initially. The remaining 30 per cent are only paid when the fund managers are satisfied that the fund criteria have been met.

Not that this means that the fund managers take control of the project. “The project’s ownership stays with the artist. We merely follow the concept that is presented to us,” says Elaine. It’s fine if this evolves organically, but beneficiaries are bound to stay in touch with the fund managers.

Collective Memories

The next step, which is currently in progress, is the possibility of online application for some of the funds, which will be backed by a software system, aiming for greater efficiency.

Through its very nature, however, the system can only address a percentage of applicants. “Competition is increasing, more quality projects are being submitted and funding allocations set our parameters on the number of projects that can be awarded a grant.”

The funds are not intended to replace sponsorships – all invest in projects having specific aims based on the strategy. Despite their varying strategic aims, however, all aim to foster creative development.

“All the funds serve as a form of bridge,” she says. Whether it is as a bridge to sustainability or as an opportunity to take a step forward in an artist’s creative development. “For us, that is how the funds should work – as a bridge and an opportunity.”

http://artscouncilmalta.org