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Asha for EducationTM

Handbook for OrganizingProfessional Quality Fundraising Event

Copyright 2001 by Asha for EducationTM

All Rights Reserved.

No part of this publication may be reproduced, transmitted, transcribed, storedin a retrieval system or translated into any language in any form by any meanswithout the written permission of Asha for EducationTM.

Asha for Education Handbook for organizing professional quality fundraising event

09/06/01 Confidential and Proprietary – Asha for Education 2

Asha, Asha for Education, Work-an-Hour, Notes of Hope, Images of India,Tarang are trademarks of Asha for Education. Products or corporate namesmay be trademarks or registered trademarks of other companies and are usedonly for the explanation and to the owner's benefit, without intent to infringe.



TABLE OF CONTENTS

1. INTRODUCTION ........................................................................................................................................4

2. EVALUATING THE IDEA.........................................................................................................................4

3. NEGOTIATING THE DEAL......................................................................................................................5

4. GETTING THE DATES..............................................................................................................................6

5. SPONSORSHIPS..........................................................................................................................................7

6. ADVERTISING............................................................................................................................................8

7. PUBLICITY..................................................................................................................................................8

8. WEBSITE......................................................................................................................................................9

9. SELLING TICKETS..................................................................................................................................10

10. EVENT MEETINGS..................................................................................................................................11

11. PRINTING BROCHURES........................................................................................................................12

12. FOOD AND DRINKS ................................................................................................................................13

13. MERCHANDISE........................................................................................................................................14

14. BRINGING IT ALL TOGETHER – THE D DAY..................................................................................15

15. THE DAY AFTER .....................................................................................................................................16

16. CONCLUSION...........................................................................................................................................17

17. APPENDICES ............................................................................................................................................18

17.1 APPENDIX A: A SAMPLE CONTRACT BETWEEN ASHA FOR EDUCATION AND ARTISTE ............................1817.2 APPENDIX B: A SAMPLE BUDGET............................................................................................................2017.3 APPENDIX C: A SAMPLE SPONSORSHIP CONTRACT .................................................................................2117.4 APPENDIX D: A SAMPLE ADVERTISER CONTRACT...................................................................................2317.5 APPENDIX E: A SAMPLE PRESS RELEASE.................................................................................................2417.6 APPENDIX F: ABOUT ASHA MATERIAL FOR THE BROCHURE ...................................................................2517.7 APPENDIX G: A SAMPLE SCRIPT FOR THE DAY........................................................................................2717.8 APPENDIX H: TWO SAMPLE FLOOR PLANS ..............................................................................................3117.9 APPENDIX I: EVENT FEEDBACK FORM FOR ASHA VOLUNTEERS..............................................................33



1. Introduction

Fundraising through events like concerts is Asha’s forte. We have been arranging eventssince early 1990’s and yet for every new event at every chapter we almost always start with aclean slate! This handbook is an attempt to provide a base to our chapters on which they canbuild the events. It has been compiled with the feedback from several active Asha volunteerswho have been involved in successful fundraising events over the years.

The following sections are arranged in an order that also represents the chronologicalsequence of steps or events that place while organizing a large-scale fundraiser. Feel free tosend your feedback and additions to Ranjeet Ranade at [email protected].

2. Evaluating the idea

Asha chapters outside India strive to achieve one or more of the following goals:

1. Raise funds to support the cause

2. Raise awareness in the community

3. Increase the volunteer-base in the community

A successful fundraisers is one which directly contribute to all of the above. The success ofthe event hinges on the conception of the idea itself. The idea should be appealing to all ofour patrons who come in three categories

a. Diehard supporters of Asha who will come for any event

b. Asha enthusiasts who are likely to attend the event provided it is at least mildlyentertaining

c. Those who don’t care much about the cause but will attend if the event isentertaining.

The key behind a “big money” event is to always aim to please those In category c. If onedoes that then the people from categories a and b will automatically follow! Here are some ofthe criteria that your chapter may wish to go through while conceiving the idea.

Target population – Consider your audience! If it is a student community then choose aparticipatory event such as Holi celebrations or a film music concert where people can danceat the back. If the population is suburban (families) then consider either all day “family fun”events such as “mela along with a cricket league” or consider a classical music concert.

Season of the year – It is important! Ever wonder why the big artistes approach Asha duringthe summer months and make a song and dance about giving us a discounted rate? Well, it isa slow time of the year for them. Most of them are looking for a series of concerts onweekends and teach music during the week in some local universities! So be careful aboutchoosing to do a concert in summer. People prefer an outdoor event or an outdoor concert.Consider an open-air theater as a venue. If it is winter then consider some other ideas such asarts exhibition, film festival, and of course an indoor concert. Another idea, which is very



rarely tried by Asha chapters, is organizing a regional play – it is low cost and appeals to thecommunity.

Artistes – big names in Indian music are actually dime a dozen these days. Most of them whowere big names in 70s and 80s have started touring outside India. Also they travel with theirsons and daughters who themselves may not be very accomplished but never the less couldbe crowd-pullers. Instrumental music is easier to sell regardless of the populace. Vocal ismore difficult as one has to consider the leanings of the locals – Hindustani or Carnatic. Sofind out if there is any specific regional concentration and then decide on the artistes.

Cost/Benefit analysis – The gains are not always financial. If publicity and awareness are thetwo important goals behind an event then a basic cost/benefit analysis is essential. A Diwalimela which actually costs as Asha chapter $250 in setting up a table may not be consideredon the surface but a simple cost/benefit analysis reveals that if there are 10 donors (for %25each) coming out of that event then it is worth the efforts.

Breakeven point – The events are normally held to raise money but it is critical to know thebreakeven point ahead of time. Make sure to perform these calculations in the early stages.

3. Negotiating the deal

Traditionally we have not been very effective in negotiating with the artistes and bands. Onemajor reason is that the artistes usually approach us through an Asha member. While this hasmany advantages such as easy access, central point of contact it has one major disadvantage– it weakens our ability to negotiate. We tend to “accept” the price that has been extended tous. Here are some ways we can do a better job of negotiating.

Negotiator: Assign a business-minded Asha member as a negotiator. Let him/her deal withthe artiste/band directly and not through Asha’ point of contact. It is much easier to bargainwith someone you don’t know. Also ensure that this person who is negotiating is not part ofthe hospitality group; conversely, anybody who is on the hospitality group must notnegotiate.

Artistes fees: Always shop around to see if the price quoted is correct; sometimes it is overpriced. Even if it seems ‘fair’, look for hidden costs (see below for travel, accommodation,etc.). Always come up with a payment schedule, typically an advance with full payment onthe day of the concert. Have a penalty clause in the contract for cancellation of the concertby the artiste.

Dates: Ensure that the length of stay by the artiste is convenient for you and not just for theartiste. If you plan to organize a special lunch with the artiste on the day after the concert,then make sure that the artiste has enough time and is not scheduled to leave early in theafternoon.

Other organizations – As observed before the artistes/bands are normally on the lookout for aseries of shows. Look for other Asha chapters who may be interested. Look for other groups



such as CRY and AID who normally are interested too. Negotiating for 5 Asha and 5 AIDconcerts is much easier than negotiating for 5 Asha concerts or for the concert at yourchapter. Keep in mind that the artistes are not doing this for free and it is in our own interestto reduce our expenses. A more convincing argument (if you need one!) is that more profitsmeans more funds for Asha projects.

Travel costs – This is a hidden cost which is very often overlooked. The artistes normallyhave no interest in reducing this for Asha and it could run as high as 25% of the base price.Look into it and see if you can get the performer to take of it. If not then can you give a fixedbudget to them, say 10%, and let them handle the travel.

Accommodation – Another big item which is often couched as “Oh, we don’t need any fancyplace to stay”. Do the math first. If there are 4 performers who are staying for 2 nights theneven at $75 a night the bill could be as high as $600. Putting them up at an Asha member’shouse is one option. Again try allocating a fixed budget of say 5% of the base price.

Special guests, special guests, and more special guests – The performers often demand freeprime seats. This is a loss of revenue so try to avoid it. If you can’t then put a realistic cap ofsay 4 seats. Sometimes though, these guests are vital as Asha’s long term contacts and couldbe celebrities in their own right, do not hesitate to give them free tickets. Try to move theguests to non-prime seats.

Side shows – This is not very obvious and is often not considered. The day after the eventorganize an exclusive dinner/lunch with the performers and charge $50/$100 per seat. Youcan advertise this during the event and hence you are guaranteed enough participation. Inunlikely circumstances of not having enough people, open it to Asha members at cost – thereis nothing better than that to show an appreciation of their efforts.

Merchandise – With the performers comes the unexpected. They want to sell their own musicat the event! Often autographed. So the Asha merchandise takes the back seat. Take this intoconsideration when you negotiate. Take a percentage of the proceeds from the merchandizesale, but make it worthwhile for the artiste too.

Contracts – Sadly our lives are governed with contracts, contracts and more of them thesedays. However they do help us in some ways. Whatever the details of the negotiations, pleaseput them down on a piece of paper and get it signed by the performer. Refer to appendix Afor a sample contract.

Budget – As soon as you have negotiated a deal prepare the budget for the event. It will tellyou what are the overall costs and it will also help you get sponsors. A sample budget is inthe appendix B. Also prepare a statement about projected revenues, this will guide you indeciding where to concentrate your efforts and in pricing of the tickets.

4. Getting the dates

It is good to lock in the dates as early as 3-4 months. It helps to get good airfares as well.



Date and time – Normally Saturday evening is a good choice. Sometimes Friday eveningsalso work but avoid Sunday evenings if you can as people have “Monday blues” on theirminds. Avoid a long weekend as it considerably affects the audience and it also adds to thetravel cost. In big cities, evening shows are better while in smaller cities/suburban areas lateafternoon may work better. If it is a fun event like Holi then try Saturday/Sunday afternoon.

Venues – Book them with a local university or a school. All such institutions haveauditoriums. Look into the fire insurance issue as well. Typically it costs $500 for anevening. Many such places “force” ushers and security on us, which adds significantly to thecosts ($50 per person per hour). Book the venues for good 12 hours if you can. It takes about3-4 hours for the sound check and set-up, 3-4 hours for the show itself and at least a coupleof hours for cleaning the place. Also makes sure that the foyer is available to you to displayand sell stuff. Many institutions have “no food” or “no cash transactions” rules. Avoid theseas they cripple our revenue opportunities. Read the fine print of their contract.

Airfares – If the performers are coming from India then use VUSA (Visit USA) couponswhich may be cheap. But before you do that check with a local travel agent. Often domesticfares are ridiculously cheap in the US.

5. Sponsorships

Oh, it is easy to get sponsors! Far from it. The state of the economy affects the behavior ofthe sponsors.

What is in it for them – This is the first question a potential sponsor will ask you. Thestandard approach is to lead them on the path of “big name performing, captive audience,focused audience, non-profit and good cause” etc. If you can make the event a national eventthrough a series of performances then pitch it so. “Across cities” is a big appeal for sponsorsespecially if their business is banking, travel agency, insurance etc.

What do they offer – They typically don’t offer too much cash. More and more companiesand businesses are beginning to offer “in kind” sponsorship. So Air India may offer freetickets to the performers, Rediff/Sulekha may offer free on-line ticketing etc. The trick is topush them for cash deal first then a combination of cash/kind and the last option is non-cashdeal (barter).

What can we offer – Depending on the money involved we can offer one or more of thefollowing:

a. Stage banner

b. Inside auditorium banner

c. 2-minutes speech on the stage (with pre-approved script)

d. Free advertisement in the brochure

e. Opportunity to raffle

f. Free tickets to the event

g. A special mention on the website



h. Table for non-cash transactions at the venue

i. Association with us as “In partnership with” or “Sponsored by” etc.

j. A special mail to the mailing list (do not disclose the mailing list!)

Once again it is critical to get the deal with your sponsor on a piece of paper. Refer toAppendix C for a sample sponsorship contract.

6. Advertising

There is a fine line between sponsors and advertisers. If your event is selling well then keepsponsors as sponsors and keep advertisers as advertisers! If not then upgrade the advertisers.After all one needs to cultivate sponsors and they typically first come in as advertisers.

What do advertisers look for – Typically we don’t ask too much money of them (less than$500) so their expectations are also not as high as sponsors. They are looking for someexposure and since the amount is not high the “charity” angle appeals them too. So don’t beshy to push the cause in front of them. At the same time, don’t get discouraged if you don’tget a “yes” the first time.

What can we offer – All the items that are listed above under sponsors can be offered to theadvertisers if they wish to purchase them but it is better to go for the following as theirbudgets are small:

a. Full-page, half-page, quarter-page and business card ads in the brochure (you maywant to offer special rates for the back cover, inside left etc.)

b. Logos on the publicity material

c. Ad on the back of the ticket

Make sure that you pick up the artwork as early as possible. And as always have a contractwith the advertiser. Refer to Appendix D for a sample.

7. Publicity

For many of our events the publicity stops at flyers and pamphlets! This is partly because ourevents don’t have a budget for publicity and partly because we don’t always explore manyother cheap publicity options. So to start with, allocate a budget for the publicity and let asmall team of members run the campaign.

There are two types of audiences in the world – 1. Hmm what do I want to do one monthfrom now and 2. Wow it is noon already, wonder what I can do in the evening.

Our publicity campaign needs to address both these types. An event such as a classical musicconcert attracts audience that plans its weekends ahead of time. An event such as Holi needsmassive publicity a couple of days before the event. A middle of the road approach is neededto address the needs of both the groups. Here are some ways you can achieve that:



Early planners

a. Send post-cards a month or two in advance. It takes about $400 to make good quality5,000 or so postcards. The mailing costs are additional $1,000 or so. It pays off onlyif you can get a mailing list of targeted audience.

b. Get an article published in the local newspaper at least 2-3 weeks before the event.

c. Issue a press release (see appendix E) early enough to fall into the print-cycle.

d. Prepare a radio/TV ad and air (after performing the initial cost/benefit analysis)

e. Identify similar events and see if you can get a table there to publicize your event.Here you get a target audience which normally plans ahead of time.

Weekenders

a. Send email fliers in the week of the event

b. Distribute fliers outside grocery stores, public transport stations, parks, malls, publiclaundries, doorsteps etc.

c. Have a barter deal with other websites and put web-banners. They are easy to makeand there are hundreds of websites dedicated to ethnic community (Indian portals) orfocused audience (music event listings, weekend party lists etc.)

d. Have a tie up with retail outlets such as video stores, bookstores, music stores etc. andleave fliers and tickets there.

8. Website

Asha has a lot of creative web designers and in general we do a good job of our sites.However the websites don’t “sell” what they are supposed to. This was also the feedbackfrom media critiques during Asha’s 10th anniversary conference. Through our websites, weas a non-profit are trying to achieve the 3 goals mentioned in the second section above. Theevent website should “sell” the event. In other words it should be friendly enough for ourpatrons to buy the tickets, locate venue details and contact information, and find out aboutAsha easily.

Here are some items that you may want to consider including in the site:

a. Branding of the event. Many chapters have the same event every year and it helps tocreate a brand out of such regularity. Some examples are NYC/NJ’s Surbahaar, StLouis’s Tarang, and Berkeley’s Images of India. Some better examples are Notes ofHope and of course Work an Hour.

b. Internet domain names come cheap these days. Buy them for your event and maintainthem.

c. Cross-sell through your event’s website. Is there another event in the next 2 months?If so include a small blurb on it along with the contact information. Have a link to theproject’s site along with “Donate” button. Once people buy a ticket and thenunderstand the cause it is easier to convince them to donate.



d. Have the past history of the event available. People are more willing to go to an eventthat is a regular feature.

e. Have all publicity material available on the website. Many patrons can becomesurrogate members and eventually regular members.

f. On-line ticketing – it is not very difficult to include it these days. Tie up with portalssuch as Sulekha and Rediff that are more than happy to offer on-line ticketing. If it isa more mainstream event such as instrumental classical concert then also considerTicketmaster as it has a wider reach. They also offer a non-profit rate.

g. Make sure that all external links (including Asha’s) open up on a new webpage. Thisway the user always has the original site up and running.

h. It is critical to have a site up and running as soon as possible so that the publicitycampaign can start. Go ahead and put up a rudimentary site and then develop arefined version. Use frequent releases to upgrade the site rather than a big-bangapproach.

9. Selling tickets

There is a simple formula that seems to work. Use sponsorships and advertising revenues tocover your event costs so that all ticket sales are your profits! Of course it is not very simpleto implement this formula but if the suggestions in sections Sponsorship and Advertising areused then hopefully it will not be all that difficult.

It depends on many factors however one single factor on which ticket sales are dependent onis publicity. If you do that right then the ticket sales will follow. But first let’s take a quicklook at a number of things to do before one can start selling tickets.

Before selling:

a. As soon as you finalize the auditorium then finalize the ticket prices. Instead ofdebating the prices within your group find out what prices are used by 2-3 similarevents that are happening in the vicinity. Unless there are strong and valid objectionsfrom the group/chapter use similar price structure. For example in New York thestandard concert rates are $65, $50, $30 and $15 for students.

b. Always have a student rate. Either you can have special student seating or give 50%off to students on all the standard rates. Today’s students are tomorrow’s workingprofessionals. Care for them today and they will care for you tomorrow!

c. You may want to offer a senior citizen’s rate depending on the local populace.

d. If this is an event that the kids are likely to enjoy then definitely offer a family rate. Itis not possible for a person to pay $50 each for her ticket, her husband’s ticket and 2children’s tickets. Offer something like a $100 family pass of 4.

e. Offer a group discount of say 20% on a purchase of more than 10 tickets. It is worth itas you have got yourselves repeat customers!



f. Set up the on-line ticketing facility if possible. More and more people are willing tobuy services on-line so make use of it.

g. Print 25% more tickets than the capacity. This is to ensure that you have enoughtickets to distribute (this point will become clear soon).

h. If there are seat numbers in the auditorium and if you decide to use them then putthem on the tickets. Otherwise put serial numbers, as it becomes easy to track.

i. Use different colors to identify different price ranges.

j. If you want to minimize costs then use perforated sheets to print the ticketsyourselves. Normally you can squeeze 14 tickets on a letter sheet.

Selling them:

a. Start selling about 2 months before the event. Use a number of concurrent strategiesto sell the tickets. The first and the foremost: on-line ticketing.

b. Distribute physical tickets amongst members early in the game. Word of mouthselling is powerful.

c. Think of using stores (music, arts, groceries etc.) as your retail ticket outlets. Offerthem incentive if it helps make them sell more. Ensure that these tickets have serialnumbers or a different color; this will help you identify how many tickets this outletsold (and they cannot cheat you).

d. Get a toll free number from companies like Ureach.com. It doesn’t cost much and itmakes people call as they feel that it is a big event.

e. Advertise free ticket raffles on student campuses. Chances are that a few of those whodon’t win the raffles will end up buying tickets.

10. Event Meetings

Many Asha chapters meet regularly irrespective of any events and the frequency sometimesas high as once a week. However it is critical to plan meetings around the event that a chapteris organizing or at least convert the regular meetings to address the issues related to theevent.

The following table gives a guideline as to how to focus the meetings when planning a bigevent.

Time before theevent

Type of meeting Frequency ofmeetings

Suggested topics todiscuss

4th month before theevent

Face to face meetingsand emails/phoneswith emphasis on thelatter

Once in two weeks Performers, Costs,Auditoriumbookings, dividingresponsibilities.

3rd month before theevent

Face to face meetingsand emails/phoneswith emphasis on the

Once in two weeks Ticketing strategy,sponsorshipsstrategy, publicity



Time before theevent

Type of meeting Frequency ofmeetings

Suggested topics todiscuss

latter

2nd month before theevent

Face to face meetingsand emails/phoneswith emphasis on themeetings

Once in two weeks Sponsorships,publicity,advertisements

Month of the event Face to face meetingsand emails/phoneswith emphasis on themeetings

Once every week publicity,advertisements,brochures, day of theevent logistics

Week of the event Face to face meetings Every day or everyother day

brochures, day of theevent logistics

Big events often result in burnout and there are no easy ways to avoid it due to the “part-time” nature of our group. But here are some hints which may reduce the gravity of the issue:

a. Appoint one person responsible for the entire event. He/she is the de facto leader andshould have prior experience of conducting one or two events (it is OK if they weresmaller). The job of this person is to coordinate and involving all the relevant partieswhen key decisions are taken. He/She is also responsible for assuring that allvolunteers are doing their job on time.

b. Break the responsibilities early in the game. It creates a sense of ownership and thenpeople don’t involve themselves with everything else, which is the main reason ofburnout. But be sure to assign more than one person to a critical task else things willsuffer as there are always “slackers”.

c. Don’t centralize all decisions. How much to pay to the performer is something thatneeds to be decided by the entire group but on the other hand the color of the paper touse for printing tickets can be decided by a smaller group.

d. Have a “new member” meeting once a month and invite them to take ownership ofsome event oriented tasks which are clearly defined.

11. Printing brochures

This seemingly trivial task is not that trivial. If it is not done well then it could result in thefollowing:

a. Loss of credibility amongst sponsors and advertisersb. Loss of revenue through increased costsc. Loss of opportunity to publicize Asha

No matter how well we organize events there will always be last minute advertisements to beincluded in the brochure! This is not necessarily a bad thing as the advertising revenue isquite significant. So keep your options open to accommodate the late comers.



Nice brochures with a color cover can cost as high as $1000 for 700 copies in big cities.There are however cheaper ways to make them. You may want to consider the followingoptions:

a. If the number of attendees is less than 400 then you my want to consider printingthem on your own. If this task is distributed amongst say 4-5 people it can be doneeasily in 6 hours or so.

b. Instead of individual printing photocopying is another option. It doesn’t look all thatbad and most people don’t expect high quality brochures.

c. A hybrid approach is also available. Get the cover page printed from a professionalprinter and then photocopy the inside pages. This makes the brochure looksprofessional at reduced cost (The printers very often can “score” the cover page sothat it is easy to fold after one has manually inserted the inside pages). The advantageof this option is that most of the time cover page is decided early but the ads arecoming until the last minute and this approach accommodates both.

Nice dimensions for the brochure are 5.5 inches by 8.5 inches (a standard letter size folded inthe middle). It looks elegant.

Don’t forget to include information about Asha in the brochure. The best place for it is thecenterfold. A sample “About Asha” page can be found in the appendix F.

12. Food and drinks

This is a good revenue maker at any event if handled well. There is as much as 100% marginon these items. One can either sell the rights to a restaurant or buy the items in bulk and sellthem during the event at a retail price. Both options work quite nicely but have their ownquirks.

Outsourcing option gives you a fixed amount in hand and you are not stuck with anyinventory. If you are short on volunteer base then this is recommended. However you run therisk of mismanagement at the venue. The vendors typically only bring 2-3 people to serveand if the audience is 500+ then it becomes a nightmare. Also you have no control on thetype of food the vendor will sell and also the prices that will be charged to the patrons. Afterall they are Asha patrons and you don’t want them complaining about the high prices. Alsobeware of the auditorium policies. Many places don’t allow outside vendors.

“Do it yourself” approach is good in many ways. If the volunteers make the food (and makesure that there are no legal issues such as health authorities inspection etc.) then the costs arequite low and margins can be high. It also offers full control over the “assembly line”servicing of the patrons. The disadvantage is that one may be stuck with excess food. A goodvariation of this approach is to purchase dry snacks in a box through a wholesaler and thensell the boxes at say $5 with a drink. If it is an evening event, about 60-70% of the audienceeats so order accordingly.

A good practice is to sell the food during the intermission and then give the excess away forfree towards the end of the event. It makes students happy and one is not stuck with too muchexcess food!



13. Merchandise

Asha merchandise not only brings in good revenues but also spreads awareness. It is worthinvesting in its inventory at the beginning of the year and sell it not only at Asha events butalso at other events when permitted. Be ready to place order of the merchandise at least onemonth before the event. Items such as T-shirts take 2-3 weeks for delivery. If you are gettingan item made for the chapter then it is always a good idea to ask the other chapters. It alsomakes your order large which may result in lower wholesale price.

Offer special discounts like “buy one get one free” or student’s rate to enhance the sales.Items made by Asha projects sell well as they have higher appeal amongst the patrons. Keepin mind that there are all kinds of buyers so have a range of products starting $1 and going ashigh as $15.

Here’s a list of items that can be sold, along with suggested retail prices.

# Item Suggested price Comments

1 Asha calendars $10 Reduce the price by as much as 50%when it is mid-year. No one is going tobuy calendars at $10 in the middle ofthe year!

2 Asha T-shirts $8-10 Consider children’s sizes. Also see ifyour supplier can make ladies’ cutwhich is different from the regularmen’s cut

3 Stationery $5-10 Ethnic stationery easily available frommany sources such as Chimanlal is abig hit

4 Asha pens $1-2 These have Asha monograms and arealso a good giveaways if someone buyssay two T-shirts

5 Greeting cards $1 per card or $3for a pack of 5etc.

They sell well if are made at one of theAsha projects

6 Tote bags $5-10 This is not a very common item andthere is no statistics available

7 Asha pins $1 These have Asha monograms and arealso a good giveaways if someone buyssay two T-shirts

8 Candles (diyas) $3-$6 They sell very well indeed especiallycloser to Diwali/Christmas!

9 Artistes’/band’s CDs etc $15 with a $5 cutfor Asha

This can be tried after negotiations withthe performers



14. Bringing it all together – The D Day

Months of hard labor by several Asha members can truly come to fruition only if all goeswell on the day of the event. There are a number of things to consider so it is advisable tomake an experienced (in organizing events) Asha member to be in charge of “the day of theevent” activities. She/he is responsible for creating the script for the day and ensuring thateach step is followed. A sample script can be found in appendix G.

Some of the key coordination roles required are listed here. The section further elaboratessome of them:

� Day of the event coordinator

� Food coordinator

� Usher coordinator

� Decorations coordinator

� Artistes/band coordinator

� Tickets coordinator

� Asha speech coordinator

� Master of ceremony

It is a good idea to assign one volunteer (preferably with a car) for the performers’hospitality. This particular volunteer needs to ensure that a proper accommodation isavailable to them and the schedule for sound check etc is met.

Very often there are enough enthusiastic Asha members who want to take care of the stagedecorations. This is fine but if not then consider engaging a professional decorator and offer afree ad in the brochure in return.

In case of large events, it is highly advisable to plan the placements of various tables anditems along with volunteer locations in advance. This helps the individual volunteers to takecharge of their locations and there is little scope of confusion at the event. Often there is aneed for a slightly different arrangement during the intermission than before the beginning ofthe event. This is because the focus at the beginning is for the patrons to learn about Asha,view project posters etc. and the scope during the intermission is for the patrons to buy foodand merchandise. Two such possible arrangements are listed in the appendix H.

A crisp and short Asha speech goes a long way in terms of generating interest and gettingdonations. Too many emotions can make it sound like a desperate situation and the lack of itwill not keep the patrons engaged. So strike a good balance. Make a plea to donate but don’toverdo it. Give a couple of concrete examples of how the new members can get involved.Make references to a couple of Asha projects and divert the traffic to Asha tables. One mayconsider the following sample speech which falls well within the recommended limit of 5minutes. It is not necessary for the chapter coordinator or the events coordinator to give thisspeech. In fact it is not even necessary for the speaker to be closely associated with Asha! An



effective speaker is someone who can convey the message, retain the audience’s interest, andmakes them come back. So choose wisely!

‘Thank you for joining us tonight for a wonderful concert. I would like to take a few minutesto talk about Asha for Education or "Asha”, as it is popularly known. What is Asha? It standsfor "hope" in many Indian languages. We, as a group, is a vehicle to bring a social change inIndia through education. Sometimes it takes the form of transporting computers from the USto various Asha projects like SEWA in India while sometimes in takes the form of a schoolbus which is used as a mobile school called Door Step in Mumbai. Known for its zerooverheads, Asha is a group of volunteers and professionals with over 30 chapters in the US,India, UK, and Australia.

Anyone can become an Asha member and get involved. By attending tonight’s event you arealready involved! During the break, feel free to explore many facets of Asha. You cansupport our projects by becoming an Asha Star. If you have a deserving project in mind, youcan tell us about it at our next meeting which by the way is on July 28th. You can help ussupport our projects by participating in the Arts auction and by buying our merchandiseduring the break. You can also symbolically work for 5 Asha projects on the 15th of August.Our chapter has a commitment of about $24,000 towards our projects this year and I inviteyou to make a tax-deductible donation during the break.

Feel free to ask questions about Asha and its activities to the volunteers who can be identifiedby their Asha T-shirts and the Get involved tags. Enjoy the rest of the show after the breakand drive safely. Thank you.’

Vote of thanks is a critical element of the event. It is our obligation to the sponsors to thankthem and also it is a good practice to thank the performers even though they have not giventheir services for free. Also make sure to thank the “unsung heroes” Asha members!

During the main events a lot of smaller activities can be coordinated. These include newmember sign-ups, raffles, auctions, accepting donations etc. Most of these take placethroughout the duration of the event at various Asha tables. It is worth considering raffles ofitems such as “dinner for two” at a local restaurant or book coupons. Small businesses arereluctant to give money for advertisements but they are often willing to donate such items.Asha volunteers can set up a very effective auction or raffle for such items. For example onecan set up a raffle of book coupons at a project poster thereby inviting those who visit theposter to contribute $2-3 to the project in return for a raffle entry.

It is possible to build all such activities into the day’s script so that everything runs likeclockwork orange.

15. The day after

The logical end of the event is only said to reach after the post-event activities are completed.Following is a list of such items that are critical yet often overlooked.

Collecting feedback – This is a powerful mechanism of improving the chapter’s abilities toconduct yet another successful event. Call for an informal but a candid meeting and havepeople share 3 things which went well and 3 things which could be improved upon.



Sometimes it works better if a point-person collects the individual feedback via emails/phoneand then presents the summary at the meeting for discussion.

Hours and Dollars – No hours and dollars are countless. They become countless because wenever bother to count them! As part of the feedback, ask Asha volunteers how much time andmoney they spent on various activities. It will help in planning for the next event. Use thesample form in the appendix I.

Accounting – Not only we owe it to the IRS but we owe it to all the Asha volunteers for theirhard work. So wrap the accounts as quickly as possible (within a week or two) to find outhow much profit was made.

Thank You notes – If some prominent people were invited and they attended the event thenprepare a thank you note and send it to them. It helps to be in their good books.

Sponsors and advertisers – Remember all those phone calls and visits you made to thembefore the event? Well, now there is one more visit one MUST make. Take a copy of thebrochure and give it to them. Share a few thoughts with them about how well the event went.They are sure to support you next time around.

Have fun – That’s a major part of any Asha event! Call for a party or a potluck lunch andinvite everyone who was involved in the organization of the event.

16. Conclusion

The suggestions and guidelines outlined here are a result of the feedback from various Ashamembers who have gone through a number of fundraising events over the years. Needless tosay, as a reader of this handbook you will have some suggestions and additions. If so thenplease go ahead and contact the compiler. If you use this handbook and add to it based onyour experiences only then it will have served its true purpose.



17. Appendices

17.1 Appendix A: A sample contract between Asha for Education and Artiste

EVENT AGREEMENT

This Event Agreement (“Agreement”) made effective on this Month DD, YYYY between Asha forEducation, CITYNAME chapter, a 501(3)c non-profit organization, ("Asha-CITYNAME"), andMessers XYZ and accompanying musicians ("ARTIST"). Asha-CITYNAME and the ARTIST aresometimes collectively referred to herein as the “Parties” and individually as a “Party.”

EVENTSWHEREAS, The ARTIST has agreed to perform an Indian Classical Music Concert; and

WHEREAS, Asha-CITYNAME desires to organize this Concert in exchange for certainvaluable consideration as described below, in accordance with the terms and conditions set forth inthis Agreement.

AGREEMENTNOW, THEREFORE, in consideration of the foregoing and the mutual promises,

covenants, representations, warranties and agreements herein contained, intending to be legallybound, ARTIST and Asha-CITYNAME agree as follows:

1. Services: The ARTIST has agreed to perform an Indian Classical Music concert on MonthDD, YYYY from Start PM to End PM EST in City Name at a location chosen by Asha-CITYNAME.

2. Rates: Asha-CITYNAME will pay the ARTIST a fee of $10,000 for the entire concert.3. Hospitality: Asha-CITYNAME will provide the ARTIST with tickets to travel to and return

from New York City to any place of choice within the continental United States. Asha-CITYNAME will also provide the ARTIST with accommodations in a suitable placeconvenient to both Parties.

4. Payment: An advance of $2,500 will be paid by June 1, 2001 and the remaining amount of$7,500 will be paid on the day of the concert.

5. Proceeds: All proceeds from the concert, including ticket sales, donations, sponsorships,advertisement payments and merchandize sales will be collected by Asha-CITYNAME.

6. Limitation on Liability: In no event shall Asha-CITYNAME be liable for special orconsequential damages, whether or not the possibility of such damages has been disclosed toAsha-CITYNAME in advance or could have been reasonably foreseen by Asha-CITYNAME. The ARTIST shall save, defend and hold Asha-CITYNAME harmless fromany and all claims by persons not a party to this Agreement as limited above and which arisesout of or in connection with the Services.

7. Termination: This Agreement may be terminated by either Party without cause, upon sixty(60) days prior written notice to the other Party.

8. Effect of Termination. If Asha-CITYNAME terminates this contract it will forfeit theadvance of $2,500 and if the ARTIST terminate this contract they will pay Asha-CITYNAME $2,500 after returning the advance of $2,500.

9. Successors and Assigns: This Agreement binds, inures to the benefit of, and is enforceable bythe successors and assigns of the parties.



10. Relationship of the Parties: Asha-CITYNAME and ARTIST are independent contractors andneither party, nor any employee or agent of either party, shall be construed to be theemployee or agent of the other party.

11. Notices: All notices and other communications under this Agreement shall be in writing andshall be given to the party either personally or by sending a copy of the notice orcommunication by first class United States express mail, postage prepaid and return-receiptrequested, or by a nationally-recognized courier service guaranteeing next-day delivery,charges prepaid, or by facsimile (with the original sent by either of the foregoing methods), tosuch party’s address (or to such party’s facsimile number). All notices shall be deemed tohave been given to the party entitled to the notice when received.

If to Asha-CITYNAME:Asha for EducationStreet 1, Apt 2City 3, State 4 ZIP 5Attn: Asha member name

If to ARTIST:Messers XYZ et al.Street 6, Apt 7City 8, State 9 ZIP 10Attn: artiste contact name

Notice of any change in any such address shall also be given in the manner set forth above.

IN WITNESS WHEREOF, the parties have executed this Agreement on the day and yearfirst written above.

By: By:

_________________________ Asha for Education CITYNAME Messers XYZ et al.Name: Contact name Name: Cobtact name



17.2 Appendix B: A sample budget

Below is an estimated consolidated budget for a concert

# Item Amount

1. Artiste’s honorarium $10,000

2. Artiste’s lodging, boarding and local travel $1,000

3. Concert hall rental $4,000

4. Sounds equipment $500

5. Fire insurance at the venues $700

6. Brochure printing (1000 copies) $800

7. Concert advertising in newspapers, TV, radio, web-sitesetc.

$1,000

Total $18,000



17.3 Appendix C: A sample sponsorship contract

EVENT SPONSORSHIP AGREEMENT

This concert series agreement (“Agreement”) made effective on this Month DD, YYYYbetween Asha for Education, a 501(C)(3) non-profit organization, ("Asha"), and therepresentatives of ABC, Inc. ("Sponsor"). Asha for Education and the Sponsor aresometimes collectively referred to herein as the “Parties” and individually as a “Party.”

EVENTWhereas, the Sponsor has agreed to sponsor and promote the event; and whereas, Asha hasagreed to provide certain valuable consideration as described below, in accordance with theterms and conditions set forth in this Agreement.

AGREEMENTNow, therefore, in consideration of the foregoing and the mutual promises, covenants,representations, warranties and agreements herein contained, intending to be legally bound,Sponsor and Asha agree as follows:

1. Services: The Sponsor has agreed to provide the following to Asha:a. $6,000 (check payable to Asha for Education by Month, DD, YYYY) for the

privilege of being one of the four available national sponsor spots for thefollowing event� CityName, State on Day, Month DD, YYYY

b. Up to ten advertising banners (468x60 or comparable size) or flash animationsfor free for Asha's promotional purposes.

c. The Sponsor will publish an article related to the event a week before the eventd. A prominent link to Asha from the Sponsor’s website. The URL will be

located at www.webaddresshere.com/asha from the homepage for the entireperiod.

e. Prominently advertise the concert series to the Sponsor’s email lists, feature itprominently on their websites, highlight it in their event listings, and run500,000 ad impressions for free.

2. Benefits: In return for the aforementioned services Asha will provide the Sponsorbenefits in terms of the following:

a. To prominently display the sponsor (with logo, tagline, URL) in all advertisingmaterial such as electronic, print, radio, TV, which is produced after the date ofthis agreement. Whenever possible Asha will make changes to the alreadyexisting advertising material. (specifics to be discussed and material approvedby the Sponsor)

b. To prominently display the Sponsors' banner on the stage. Asha willcommunicate the dimensions to the Sponsor in a separate memo.

c. To provide one full pages advertising the Sponsor in program guide.d. To acknowledge the sponsor during the vote of thanks.



e. To provide XX free tickets (lowest cost) to the Sponsor for the eventf. To introduce the Sponsors as the sponsors of the event series to the worldwide

Asha email list once before the event.3. Proceeds: All proceeds from the concerts, including ticket sales, donations,

sponsorships, advertisement payments and merchandise sales will be collected andretained by Asha.

4. Successors and Assignees: This agreement binds the Sponsor and Asha for Education,inures to the benefit of, and is enforceable by the successors and assignees of theparties.

5. Relationship of the Parties: Asha and Sponsor are independent contractors and neitherparty, nor any employee or agent of either party, shall be construed to be theemployee or agent of the other party.

6. Refund in the Event of Cancellation: Asha will refund the Sponsor if the event iscancelled.

IN WITNESS WHEREOF, the parties have executed this Agreement on the date firstwritten above.

By: By:_________________________ Asha for Education Messers Sponsor NameAttn: Member Name Attn: Contact Name



17.4 Appendix D: A sample advertiser contract

Request for Service

ToAsha For EducationP.O. Box 222,City,State ZIP

Client: ________________________________

Address: ______________________________

Address: ______________________________

Date: Day, Month DD, YYYY Event: Description

Venues: Place address, City, State, Zip

Services Provided by Asha for Education

Service type Description

In return of these services, the client will remit $______ to Asha for Education (Make checkspayable to Asha for Education with “Event Name” in the memo field)

Special Instructions: _____________________________________________________

Accepted For Asha for Education by Authorized for the client by

____________________________ ___________________________Print Name: Print Name:Date: Date:



17.5 Appendix E: A sample press release

Asha for Education – City Name Chapter

FOR IMMEDIATE RELEASE:

‘THE LARGEST WHATEVER IN CITYNAME’ASHA FOR EDUCATION presents Name of the Event

Benefit event to raise funds for Children’s Education

Band/Artiste/Guest Name

City name, State. Month DD, YYYY – As part of the 10th anniversary of its founding,Asha for Education, is organizing event featuring the legendary whoever on Day, MonthDD, YYYY, at Venue.

Asha for Education is organizing the event to showcase the progress it has made in the last10 years in educating the underprivileged children in India and also to increase the awarenessof type of event/instrument/style in city name. “We raised more than a million dollars lastyear and have helped educate thousands of children in India”, said Jo Shmoe an Ashavolunteer. “We expect more than 1200 people to attend this concert making it probably thelargest type of the event in City name”, he added. All proceeds will be used for supportingeducation projects in India.

The event features the Big shot dude. His name today is one of the most distinguished andsuccessful whatever he/she/they is/are in the world. He is also the recipient of the XYZaward and blah blah and so on and so forth for a couple of lines more.

"We at Asha believe that education is the fundamental right of every child in the world. Inorganizing event, we are reaching out to the citizens of City and raising awareness aboutchildren's education in India," said Jane Amma a long time volunteer of the City namechapter. Asha for Education is a zero-overhead group of dedicated volunteers from variouswalks of life. All donations to Asha are tax-deductible and go directly to the projects beingsupported in India.

For more information:Press Contact: Joe Shmoe, 123-456-7890, [email protected] Sites: www.webaddresshere.comAsha for Education, PO Box 111, City, State Zip



17.6 Appendix F: About Asha material for the brochure

Who are we?We are a group of working professionals and students.

What is our mission?To catalyze socio-economic change in India through education of underprivileged children.

How do we achieve it?� By supporting educational/grassroots projects in India� By running awareness campaigns about social issues� By working with other groups such as AID, CRY, etc.

What are our costs?Since Asha is run entirely by volunteers, we have no operational costs, and donations goentirely towards supporting projects.

How big are we?Currently there are over 35 chapters worldwide.

How can you get involved?Make tax-deductible donations to “Asha for Education”, become a volunteer, buy ourmerchandise, donate children’s books to our projects, and in many more ways…Visit www.ashanet.org/involve.html

How can you contact Asha?Visit us at: www.ashanet.org or mail [email protected] to us at: Asha for Education, PO Box, City, State, ZIP

Our ProjectsIn pursuit of its mission, Asha focuses on basic education in the belief that it is a criticalrequisite for socio-economic change. In keeping with this focus, we get involved withprojects that have an education-related component. Sometimes it takes the form of vocationaltraining, non-formal education, health education etc. Since its inception in 1991 Asha hasprovided support of over $2,000,000 to more than 200 projects.

Following is the information on three of our projects at a glance. All current projects of thename chapter are displayed in the foyer. Please visit them for more information.

ProjectName

International OceanInstitute

Door Step Maharogi Sewa Samiti

City, State Chennai, Tamil Nadu Mumbai,Maharashtra

Anandwan,Maharashtra

Populace landless agriculturallaborers

Migrant labor Blind, deaf-mute andorphan children



Educationlevel

Age 6-14 Health andvocational training

Nursery – 2nd

Grade, Basiceducation

Age 4-14. Vocationaltraining

Children100 215 100

Supportedsince

1998 2000 1998

Amountgiven

$12,000 $4,580 $26,500

ContactAnu([email protected])

Farhanah([email protected])

Shantanu([email protected])



17.7 Appendix G: A sample script for the day

# Time Task Participants1. 11.30 Noon Pick up the artistes and

take them to therestaurant

Raj and possibly Presi

2. 12.00 Noon Take charge of theauditorium

Sarkar

3. 12.00 to 2.00 Take care of your ownlunch (some may go forthe AAK lunch, somemay eat elsewhere..)

All

4. 2.00 Gather at the auditoriumjust outside the securitydesk

Sarkar, Ranjeet, Shyam, Suma,Preeti, Nagi, Presi, Ahalya,Ramesh, Sudarshan, Aarthi(Cars become available: Shyam,Nagi, Ramesh)

5. 2.00 – 3.00 Shyam will give thelatest ticket tallies. Wewill figure out howmany rows are neededfor which section

Sarkar, Ranjeet, Shyam, Suma,Preeti, Nagi, Presi, Ahalya,Ramesh, Sudarshan, Aarthi

6. 3.00 – 4.00 Ramesh will take chargeof rearranging the rowsinside the auditorium.Others will help

Shyam, Nagi, Presi

7. 3.00 – 4.00 Ranjeet will take chargeof arranging the tablesoutside in the foyer.Others will help

Ranjeet, Preeti, Sudarshan

8. 3.00 – 4.00 Sarkar will take chargeof arranging the bannersinside the auditorium

Sarkar

9. 3.00 – 4.00 Aarthi will take chargeof the stage decorationsand others will help

Suma, Ahalya, Aarthi

10. 3.30 Bring the artistes to theauditorium for soundcheck

Raj

11. 4.00 – 4.30 Laxmi will arrive withher car and merchandise

Laxmi (Cars become available:Shyam, Ramesh, Laxmi)

12. 4.00 – 5.00 Arun will lead thecollection of Food fromRajbhog. He will behelped by Nagi

Arun, Nagi (Cars becomeavailable: Shyam, Nagi,Ramesh, Nagi, Arun)



# Time Task Participants13. 4.30 – 5.00 All remaining Asha

members arrivePankaj, Jaya, Vineeta, Gayatri,Amiya, SKI, Prithvi, Saurabh,Jai, Sandeep, Farhanah,Ashutosh, Manu, Chandra,Pradeep, Heeral, Anu, Swetha,Nirmitee (unless she comeswith Arun before), Subha

14. 4.30 – 5.00 ArtsIndia paintingsarrive

Sudarshan

15. 5.00 – 5.30 Set up Box office.Shyam takes charge andothers help

Shyam, Subha, Vineeta, Pankaj,Jaya

16. 5.00 – 5.30 Asha table 1 – Sumatakes charge and othershelp

Suma, Gayatri, Amiya

17. 5.00 – 5.30 Asha stars table. Ski andPrthvi arrange things

SKI, Prithvi

18. 5.00 – 5.30 Presi takes charge ofarranging projects andthe others help

Presi, Pradeep, Farhanah, Jai

19. 5.00 – 5.30 Sudarshan takes chargeof arranging theArtsIndia paintings

Sudarshan

20. 5.00 – 5.30 Preeti takes charge ofthe merchandise tableand arranges withLaxmi’s help

Preeti, Laxmi

21. 5.00 – 5.30 Nagi takes charge of theAsha table and arrangesall the fliers and posterswith Saurabh’s help

Nagi, Saurabh

22. 5.00 – 5.30 Shruti takes charge ofthe India Today/Redifftable and arranges things

Shruti

23. 5.00 – 5.30 Sushma takes charge ofthe India Today/Redifftable and arranges things

Sushma

24. 5.00 – 5.30 Ramesh gets the ushersready with flashlightsetc.

Ramesh, Anu, Swetha, Nirnitee,Heeral

25. 5.00 – 5.30 Ahalya sets door peopleup with bell, brochuresetc.

Ahalya, Ashutosh, Manu,Chandra

26. 5.30 – 5.45 Get ready, put Asha T-shirts on, put Asha

All



# Time Task Participantslabels

27. 5.30 – 5.45 Backstage check to seeif all is well

Raj

28. 5.45 – 6.30 Entertain patrons in yourown capacity

All

29. 6.25 Door people ring thebell

Ahalya

30. 6.30 Door People shut thedoor

Ahalya

31. 7.30 – 7.45 Ahalya, Gayatri, andPushpa take charge oftheir food tables andarrange everything withthe help from others

Ahalya, Gayatri, Pushpa, Manu,Ashutosh, Suma, Heeral, Jaya,Vineeta

32. 7.45 Pankaj goes to theB’way entrance frominside ready to open justone gate

Pankaj

33. 7.45 Ramesh, Swetha,Nirmitee move towardsthe mail door

Ramesh, Swetha, Nirmitee

34. 8.00 All tables ready, allAsha members stoptalking with each other,wait for the crowd tocome out

All

35. 8.00 Main doors opened,crowd directed towardsfood, merchandise

Ramesh, Swetha, Nirmitee

36. 8.00 B’way door opened,crowd directed towardsfood, merchandise

Pankaj

37. 8.25 Door people ring thebell

Ramesh

38. 8.25 Door people ask patronsto move inside theauditorium

Pankaj, Ramesh, Amiya,Chandra

39. 8.30 Close doors Ramesh, Pankaj40. 9.00 – 9.30 Foot tables being

cleaned up. Keep a fewpackets and a few drinksfor the “after the show”crowd

Ahalya, Gayatri, Pushpa, Manu,Ashutosh, Suma, Heeral, Jaya,Vineeta

41. 9.30 – 10.00 Take the auctionpaintings into the wings

Sudarshan, Sarkar, Presi, andArtsIndia folks



# Time Task Participants42. 10.00 Set up another Asha

tableRanjeet, Pankaj, Jaya, Heeral

43. 10.30 Open main doors only Ramesh44. 10.30 Stage auction Sudarshan45. 10.30 – 11.00 Auditorium clean-up Ramesh, Sarkar, Chandra,

Ashutosh, Swetha46. 10.30 – 11.00 Manage artistes, press,

autograph lines,Raj, Gayatri

47. 11.00 Get the artiste out of thebuilding

Raj, Sarkar, Gayatri

48. 10.30 – 11.00 Serve food to people ifanyone wants it, cleanup all the tables, loadboxes in the car- Merchandise

(Laxmi)- Food (Arun)- Drinks (Pankaj)- Asha material (Nagi)

All

49. 11.00 – 12.30 Figure out where theparty is

All

50. 12.00 PARTY! All



17.8 Appendix H: Two sample floor plans

BROADWAY

Entra

nce

Gate

Box Office

Will Call Spot

Floor plan before the concert starts

Stag

e

Jaya(p3)

Vineeta(P4)

Subha(p1)

Shyam(p2)

Saurabh(p5)

Gayatri(p8)

Sandeep(p8)

Amiya(p10)

Laxmi(p13)

Sudarshan(p16)

Shruti(p18)

Ranjeet(p30)

Jai(p31)

Presi(p32)

Farhanah(p33)

Preeti(p12)

Sushma(p6)

Suma(p7)

SSS DoorStepSKB

Pradeep(p15)

Arun(p17)

Aarthi(p29)

Raj(p34)

Nagi(p14)

Chandra(p19)

Ashutosh(p22)

Ahalya(p21)

SKI(p36)

Manu(p20)

Ramesh(p23)

Swetha(p26)

Nirmitee(p24)

Prithvi(p37)

Heeral(p25)

Ash

a(m

erch

andi

se)

Tabl

e

Asha (Sign-up,donations, about)

TableArt 3 Art1Art 2

Students'Lounge

(Basement)

GreenRoom

Sarkar(p35)

Pankaj(p36)

Balc

ony

(Sec

ond

Floo

r)

Anurag(p27)

?(p28)

Pushpa(p11)

Coa

t Che

ck

?(p37)

Tim

bakt

u

Food, Columbia Coordination,General Coordination

?(p38)

Asha Stars Table

India Today& Rediff

Auditorium (First Floor)

Ash

a (A

bout

,A

uctio

n, F

ilmfe

stiv

al, W

AH)

Sule

ka/e

Shak

ti

Walkway leading to balcony (up to the second floor)

Walkway leading to first floor

Gate RestroomsRestrooms

Exit

Restrcited Area



BROADWAY

Entra

nce

Gate

Box Office

Floor plan during the intermission

Stag

e

Jaya(p3)

Vineeta(P4)

Subha(p1)

Shyam(p2)

Saurabh(p5)

Sandeep(p8)

Amiya(p10)

Laxmi(p13)

Sudarshan(p16)

Shruti(p18)

Ranjeet(p30)

Jai(p31)

Presi(p32)

Farhanah(p33)

Preeti(p12)

Sushma(p6)

SSS DoorStepSKB

Pradeep(p15)

Arun(p17)

Aarthi(p29)

Raj(p34)

Nagi(p14)

Chandra(p19)

SKI(p36)

Ramesh(p23)

Swetha(p26)

Nirmitee(p24)

Prithvi(p37)

Ash

a(m

erch

andi

se)

Tabl

e

Asha (Sign-up,donations, about)

TableArt 3 Art1Art 2

GreenRoom

Sarkar(p35)

Pankaj(p36)Ba

lcon

y (S

econ

d Fl

oor)

Anurag(p27)

?(p28)

Pushpa(p11)

Coa

t Che

ck

?(p37)

Tim

bakt

u

?(p38)

Asha Stars Table

CD

Sale

s

Auditorium (First Floor)

Food Table 3

Sule

ka/e

Shak

ti

Walkway leading to balcony (up to the second floor)

Walkway leading to first floor

Gate RestroomsRestrooms

Exit

Restrcited Area

Gat

eG

ate

Food Table 1

Garbage

Garbage

Garbage

Garbage

Ashutosh(p22)

Ahalya(p21)

Manu(p20)

Food Table 2

Gayatri(p8)

Suma(p7)

Heeral(p25)

India Today& Rediff

Artistes

Garbage Garbage

Garbage Garbage



17.9 Appendix I: Event Feedback form for Asha volunteers

Name:

# Item1. Three things that went well

1.2.3.Three things which could be improved1.2.3

2. Expenses incurred (if you pilfered something from work then don’t include it!)� Photocopying:� Stationery:� Mailing:� Stage items:� Other items:

3. Tickets outstanding cash:Donations outstanding cash:

4. Time (in hours) spent in the last month or so� Meetings:� Phone calls:� Flyering trips:� Administration (trips to venue, documentation etc.):� Other items:

5. Any other item that you would like to share with the group that is not covered inthis feedback form:

asha for educationdata.ashanet.org/datastore/data/chapters/atlanta/... · 2006-08-07 · asha for...

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