Leaving a Mark: Personalising Fundraising

How can personalising the act of giving build stronger relationships with our audiences? With so many museums and heritage organisations vying for financial support, creativity is more important than ever. This is Heritage Thinking Differently exploring how generosity can leave a personal legacy.

Walk of Art, Yorkshire Sculpture Park

Museums and heritage sites occupy a cherished place in British society. There’s a general consensus that they are worth supporting—many people instinctively recognise that we’d be culturally poorer without them. Yet, often, we find ourselves most in need when our supporters are struggling too. Many would like to give but struggle to justify it.

One way to encourage support is by offering a lasting monument to generosity. For some, the appeal lies in being visibly acknowledged for their contribution. Others may wish to donate in someone else’s name, giving as a tribute or commemorative gift. In these instances, the honouree may not be the donor, but those involved know who made the gesture possible. It introduces a fascinating dynamic: generosity as both a personal act and a shared experience.

Commemoration as a Fundraising Tool

A widely used way to personalise a donation is through physical commemoration—names engraved in stone or displayed on a plaque. The Shakespeare’s Globe Theatre in London is an enduring example. Its courtyard is paved with stones etched with the names of donors, an initiative that has become an attraction in its own right. Completed in 1997, the Globe’s reconstruction was partially funded by this innovative scheme. Supporters could sponsor paving stones for £300, or a seat for £500. Additional options included sponsoring elements such as floorboards, balusters, or even bundles of thatch. Many celebrities contributed, and visitors often seek out the most recognisable names. This imaginative approach to fundraising not only raised vital income but embedded a sense of ownership among its supporters.

The Globe Theatre, London

A more contemporary example is the Walk of Art at Yorkshire Sculpture Park (YSP). Following the success of its first iteration in 2002, the YSP is currently promoting a second path. Made from steel plates, the new path is limited to 10,000 names, with prices starting at £125. Other levels of giving are also available. I’ll share a link to the scheme below. As well as raising funds, this initiative offers the public a chance to commemorate loved ones or give a meaningful gift. The YSP promises these paths will be 'permanent'. They are well received, with visitors viewing them as artworks in their own right and often enjoying the search for familiar names.

This model of fundraising can be adapted to a wide range of cultural settings. It offers something more enduring than the traditional commemorative bench, which are often location-specific and dependent on personal association with the site, and usually installed following a death. Instead, these schemes are ongong and raise funds for strategic purposes while inviting the public to become visibly and tangibly involved, often during their lifetime. Independent cinemas or theatres, for example, frequently offer the chance to sponsor a seat. Anywhere a name can be etched or a plaque affixed, there is potential for a living or legacy gift. Some schemes are time-limited; others offer a lasting imprint.

Sponsor a Seat at Wimbledon Theatre

Balancing Creativity with Practicality

Small plaques are generally inexpensive to produce and administer. In contrast, installations like the Yorkshire Sculpture Park’s steel plates require more substantial upfront investment in design and materials. Yet, once established, these schemes can become self-sustaining, with ongoing income supporting further development. Their public visibility and artistic merit can enhance the visitor experience, provided they are well-conceived and appropriately integrated into the site. The key challenge is securing initial funding and gauging likely public interest.

Highly visible fundraising schemes also bring risk. A half-finished project, or one that visibly struggles to attract support, reflects poorly on an organisation’s planning and financial strategy. Yorkshire Sculpture Park has wisely specified a limit on the number of names, creating a sense of scarcity that helps generate urgency and interest. Open-ended schemes, by contrast, can falter if they lose momentum.

During my time at Creswell Crags, we explored the potential for a commemorative wall or path. The team proposed some excellent ideas that reflected the uniqueness of the site. With more time, I believe we could have delivered something memorable. But these schemes should never be underestimated: success depends on thorough planning, clear purpose, strong visual impact, and appropriate pricing. If all the elements align - public interest, demand, creative ambition - then such schemes can be remarkably effective. They also present excellent opportunities for collaboration with artists, designers, or architects. However, the more imaginative the idea, the more likely it will require seed funding to become a reality.

From Sponsorship to Shared Ownership

Ultimately, this kind of fundraising transcends simple sponsorship. It invites co-creation and shared ownership. With competition for funds ever increasing, perhaps funders might consider offering seed capital to help heritage organisations develop their own income-generating initiatives with public involvement. If you know of a funder already doing this, I’d be very interested to hear more. I anticipate that we will see more such projects in coming years. Please feel free to add a link to your favourite such project.

Paul Baker

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