WEBVTT

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[MUSIC PLAYING]

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Well, there actually
are a couple

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of interesting evolutions
in the landscape for what

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has happened with respect
to financing culture.

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I think there are two
very important elements.

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One is, of course,
the financial crisis

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and what it has meant
for accessing finance

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for cultural and
creative actors.

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And then the second element
is, of course, digitization

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and social media and
all the evolutions

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and the new tool-setting
tests it has brought about.

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When we look at the
financial crisis

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and the impact of finance for
culture, of course one aspect--

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and a very important pillar
in financing culture--

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is how it has affected
public budgets.

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So in several
countries there had

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been really significant
budgetary cuts with respect

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to public finance.

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Another element that evolved
from the financial crisis

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is also the way one looks
at return on investment.

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And there have been a lot of
discussions on financial return

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on investment, the
major focus on that.

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And we see in the
financing landscape

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nowadays that the debate
on return on investment

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has diversified and that now
you see new forms of financing

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popping up, trying to combine
financial return on investment

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with also social
return on investment.

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And this mix is very interesting
for cultural organisation

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and cultural practises.

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That maybe has influenced
what we call market finance.

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And you see new ways
of finance developing.

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For instance, impact
investment or impact investing

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is an interesting new thing
that is evolving and growing.

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And then a third pillar
in the financing landscape

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that has also developed in the
last five years significantly

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is what we call informal
finance or social finance.

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And that is a form of finance
that has a different mechanism.

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Whereas when you want to
attract public finance

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you have to write
a dossier and argue

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why you deserve public
funding, how your project fits

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in to the policy
objectives in place,

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whereas for market finance
the argumentation is

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about do you have a
good business plan,

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can you repay the money
that you will lend.

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In the formal sphere,
the argumentation

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is about why do I deserve
to get your money,

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what will I do with it.

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So you have to convince
people that your project is

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worth their money.

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And crowdfunding, for instance,
is a very nice example in that

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sphere, specifically when
we talk about reward-based

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and donation-based crowdfunding,
where actually you use

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a crowdfunding platform to
launch a campaign in which you

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present your project and
try to convince backers--

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people in your inner circle
but also in the outside world--

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to finance or to provide
finance for your project

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because they like it,
because they think it

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is meaningful what you do, that
you create a certain impact

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that aligns with their
identity, with their values

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and their beliefs.

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So it's a different kind of
mechanism to attract finance.

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And this new field makes
the financing landscape

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for cultural and creative
organisations has become

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richer, more diverse than
it was like 10 years ago.

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All of these instruments-- be it
public funding, market finance,

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informal finance--

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they together make that the
financing landscape has become

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richer for cultural and
creative organisations,

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and so also the opportunities
to create a financing mix that

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fits their needs, that
also evolve over time.

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For an organisation at some
point they need this type

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of financing.

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At another moment, they
need another type of finance

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also to balance.

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So in that sense, it's a
positive evolution that you see

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in the financing world that
this diversity of possibilities

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for cultural and creative
organisations has increased

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a bit.

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[MUSIC PLAYING]

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