Redefining Arts Sponsorship

Initially oil and gas giant BP was a lightning rod for protests. But more recently financial services company Baillie Gifford attracted the ire of activists and pulled some of its investment from the arts - the company remains a loyal supporter to institutions in Scotland and continues with its funding of the Baillie Gifford Prize for Non Fiction. A similar situation arose in the music festival sphere, with Barclays suspending its Live Nation partnership because of opposition to its involvement.

It’s a complex issue which, unfortunately, polarises people who are probably all arts and culture advocates. On the one hand, there are those whose conscience will not allow them to acquiesce in partnerships that they perceive as green/whitewashing. Actor Mark Rylance summed this position up when he quit the RSC over its association with BP. At the time, he said: “I do not wish to be associated with BP any more than I would with an arms dealer, a tobacco salesman or anyone who wilfully destroys the lives of others alive and unborn. Nor, I believe, would William Shakespeare.”

On the other hand, there are those who see business investment as the lifeblood of the arts sector – a source of income that is vital to the cultural DNA of the UK. This point of view was articulated in an open letter signed by The British Museum, Victoria & Albert Museum and National Gallery among others, calling for an end to the “relentless negativity” around corporate sponsorship. Typically, this lobby also argues that the companies they work with are in the process of internal change.

Against the backdrop of a volatile political and economic landscape, it’s unlikely that this situation is going to resolve itself soon. Indeed, it’s not difficult to imagine fashion brands or airlines attracting the same opposition as oil & gas firms. So arts institutions have two choices: either put up with the protests, or seek alternative solutions. 

The latter is not easy because, as arts bodies know, there isn’t a lengthy queue of companies waiting to step into the financial breach. But there are reasons to be optimistic. For all its financial troubles, the arts have the capacity to touch every tranche of society and transform lives. They remain a powerful source of inspiration, creativity, generosity, understanding and community – all attributes that brands crave.

The key question for the arts sector is whether it can channel its superpowers, making it undeniably attractive to brands that have so far looked the other way. Here are a few suggestions as to how it might tell a more persuasive story:

Authentically embrace cleantech: This might look like a criticism of institutions that work with oil & gas companies. But it’s actually a pragmatic suggestion. The UK’s net zero economy is worth £83.1bn – of which cleantech accounts for £39bn. It employs almost one million people. Energy companies, EV makers, heat pump manufacturers and software providers just scratch the surface of those involved in this burgeoning sector. By decoupling entirely from the fossil fuels sector, the arts could turn its full attention to wooing firms that may have been put off by the ongoing protests. Many arts organisations have already embraced sustainability at a cultural and operational level, so it wouldn’t be a stretch for them to build an authentic story. There is some evidence that large companies are keen to embrace the arts as a platform. For example, The ScottishPower Foundation’s ‘Art for Climate Fund’ provides grants to charities to use creative practice, like exhibitions and workshops, to raise awareness and engage communities on climate change and environmental issues.

Lean into the creator economy: Sport has recognised the power of the creator economy – and the arts sector should do the same. If The Sidemen can fill Wembley for their annual charity match, then what could the creator community do for the arts – and its ability to attract brands? Matt Risley’s arrival at the National Theatre as chief digital officer is a promising development. So was TikTok star Anna Lapwood’s involvement in this year’s BBC Proms. As yet, the arts have barely scratched the surface of such collaborations; but it offers huge scope to re-energise the arts and speak to challenger brands that currently don’t view the arts as an option.

Expand digital outreach: Connected to the above, arts organisations now have an opportunity to build fandom via digital platforms. YouTube channels, immersive websites and VR/AI experiences are just a few ways that arts bodies can connect with young audiences by telling amazing stories about their collections, collaborators and performances. Brands are also looking for new ways to connect with audiences, and will be open to exploring innovative new channels. Digital brings the added bonus of data – providing partners with insights into how and when they are reaching audiences. It can also act as a gateway to encourage hi-tech brands into the sector.

Supercharge local connections: The arts sector has always understood the value of connecting with communities, but this attribute is arguably more important than ever. People are disaffected with invisible organisations that exert control or dispense opinions from a distance. They are much more inclined to embrace bodies that share their lived experiences. Brands also understand this, which is why social purpose and community resilience have moved up their agenda. Aviva Studios, one of the shortlisted campaigns at the UK Sponsorship Awards 2025, is a compelling example of how brands and regional arts organisations can work together. Turbo-charged localism can also encompass key areas such as education and diversity.

Take a stand: Not all arts organisations want to go out on a limb. But for some it makes sense to show off their social justice credentials because this can unlock new tranches of funding. One source of new money is inherited wealth that is passing down to millennials and Gen Z philanthropists (who perhaps don’t share their parents’ views). Another is crowdfunding campaigns that speak directly to communities that are passionate about particular causes. This isn’t strictly speaking sponsorship – but it’s a valid commercial strategy in tough times. It can also be the first step towards securing corporate sponsorships that align with the issue in question.

None of the above are silver bullets that will solve the arts sector’s financial issues overnight. But they might just unlock new opportunities for this inventive sector. 

The UK Sponsorship Awards is the leading awards event for Arts Sponsorship. For companies interested in entering the 2026 edition, follow this link for more details. 

Arts entries are free until the early bird deadline of December 19th.