PLEASE NOTE: Feel free to print out copies of the following Scholarship Concept, if you wish to study the idea at leisure.(bc)
This concept for a self-sustaining Scholarship seems to me to be part of the "wave of the future". What is offered here is a brief outline of how it is intended to work. Although the following papers are copied from "Future Folk" Music files and refer to application for our specific Goals, it is highly adaptable to a variety of purposes.
We offer this outline so that any interested Facility, or performing artist, could adapt it to their specific aims.
It is believed it may suit future needs better than Corporate or Government funded Scholarships, as such funding is increasingly going to Science and Technology Courses. As an essentially student-funded method, this offers recipients a sense of pride in being able to contribute to future students who share their goals, in a continuing line of succession. Hopefully, some of our present performing artists who have successful careers, might want to use the idea as their form of "giving back" and aiding some young aspirant toward a career.
Initial start-up would require a seed-fund already established, and continuing operation would require a continuing Office of Guardianship, and a Promotional Team to serve in sustaining an income producing capacity.
What follows are two papers from "Future Folk" records, as the concept evolved. A full legal form would need to be worked up from these basic ideas. However, I believe these basic papers are sufficient to convey the general idea, and enable assessment of potential.
(2)Setting up of Scholarship Fund to sponsor young musicians who have affinity for Future Folk concept, and the "Troubadour" role. This will be funded by income from "Future Folk" Music, when sufficient income makes it possible. A major percentage of such income will be applied to this Fund. However, some will have to be applied to operating costs, for use in continuing output. The percentage ratio will have to be determined when the program can be set up.
(3) The Scholarship will provide a three year special education format, which will include three concurrent courses.
(a) MUSIC: specializing in aspects appropriate to the "Troubadour" role of songwriter and peformer.
(b)BUSINESS: specializing in aspects related to the "Troubadour" career.
(c)MARTIAL ARTS: training in non-aggressive Martial Arts, for purposes of self-defense. This would be the type Martial Arts training which includes the Oriental philosophy of non-aggressive use, and the Spiritual attitude attending such training.
The three aspects of education proposed are intended to prepare the "Troubadour" to follow their career with ability to handle life experience as it is in the present world. The latter two courses provide a type of training too often missing in the life of the artist; a condition which leaves them vulnerable to exploitation.
Due to the expense of this arrangement, it is likely that the Scholarship will only be offered to one recipient at a time, every three years; unless the Fund grows to an extent which will allow a more extensive program.
(4)SELF-SUSTAINING ASPECTS: In order to continue the Scholarship in a self-sustaining manner, each recipient will be required to contribute one original artistic product: a song - a recording of a song etc. This will be owned by the Scholarship Program. All receipts from such contributions will go into the Scholarship Fund to sponsor future recipients.
In this way, each graduate of the Program can take pride in knowing they have contributed to future young "Troubadours" in an evolving Tradition. An Honor Roster would be displayed on premises of the Facility hosting the Program, listing all such contributers, and each would receive a medal of recognition for their contribution. They will also be recognized on the Copyright as creater of the work, although ownership of the contribution remains with the Scholarship Fund. In this way, the contributer will be able to continue to use the donated work in their creative resume.
Periodically, a collection of these contributions would be recorded for fund-raising sale. At any time, any artist desiring to perform these contributed works may do so, by application to the Fund Guardians, and agreement to pay reasonable percentage of royalties to the Fund. This would be negotiated relative to standards existing at time of application.
It is suggested that rather than setting up a separate facility for implementation of the Scholarship, it would be best to work with a College or University receptive to the Program as here outlined. This would ensure that each succeeding Administrator would be legally bound to implement the Scholarship in the stated manner. It is also believed that this concept would be especially useful and appealing to small, or start-up educational facilities which have problems attracting special funding.
(1)An initial Fund will be required to serve until the self-sustaining aspect can begin. This might be accumulated via songs created prior to Scholarship set-up, with ownership signed over to the Scholarship Fund, or, at least, a percentage of the earnings therefrom channeled into the Fund. Success of this would be dependant on promotional efforts to have known artists record songs, as an income-producing avenue.
(a)Song pruducts must be appealing enough to mainstream to be income-producing, yet have a quality to be time spanning.
(b)There must be a Promotional Team to make contacts with known artists, and viable outlets, and to keep the songs before the public.
(c)There could be within the Facility implementing the Scholarship (College / University etc.) recitals to showcase the songs, and perhaps periodically record a Collection specifically for Fund raising.
(2) When Scholarship is set-up, and the Songwriting Course underway, a possible interaction between the Creative Writing Department, and Music Department , might be arranged to create new songs via student participation. Also Choral Group, and/or solo vocalists involved in study at the Facility, might contribute through showcasing the songs.
(3) The Songwriting Course should include business aspects of songwriting, to prepare the student to wisely handle the business aspects of their art.
(4) The graduate donor of a song should be acknowledged as such on Copyright, so that they may include the work on their creative resume.
(5) An Honor Roster of all contributers to continuance of the self-sustaining Scholarship, via song creation, or associated with the income producing form, should be displayed as a visible honor, in a setting accessible to public viewing, on premises. Each contributer should receive a medal of appreciation for their contribution. The entire process should be treated with honor due those who contribute toward the future of their art.
(6) Those attending under the Scholarship provision should feel extra accomplishment pride in knowing they have contributed to future "Troubadour/Songwriters" in an evolving Tradition.
(7) A continuing "Office" of Fund Guardians should be set up, which would act in guiding, overseeing, and handling commercial use of the songs. This might consist,in part,of heads of Creative Writing and Music Departments, acting with a Promotional Team. This "Office" should be set up in such a way that legal function and responsibility of the Fund Guardians will remain intact through continuing succession.
Future Folk Music