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85 posts categorized "Arts and Culture"

Weekend Link Roundup (February 6-7, 2016)

February 07, 2016

Black-history-month-1Our weekly round up of noteworthy items from and about the social sector. For more links to great content, follow us on Twitter at @pndblog....

Arts and Culture

In The Atlantic, Andy Horwitz, founder and publisher of Culturebot, examines the recent history of funding for the arts in America and concludes that while the arts themselves aren't dead, the system by which they are funded is increasingly becoming as unequal as the country itself.

Criminal Justice

On the National Committee for Responsive Philanthropy blog, Ben Barge, a field associate at the NCRP, shares highlights from a recent panel discussion, "Mass Incarceration: The Rural Perspective," featuring Lenny Foster, director of the Navajo Nations Correction Project; Nick Szuberla, executive director and co-founder of Working Narratives & Nations Inside; Kenneth Glasgow, executive director of the Ordinary People Society and co-chair of the Formerly Incarcerated and Convicted People's Movement; and asha bandele, director of grants, partnerships and special projects at the Drug Policy Alliance.

Giving

A new report from the Women’s Philanthropy Institute at the Indiana University Lilly Family School of Philanthropy finds that "women give more than their male peers at virtually all income levels, even though women in general earn less and have less money in retirement than men." In a piece for the Wall Street Journal, Debra Mesch, Eileen Lamb O'Gara Chair in Women's Philanthropy and director of the Women's Philanthropy Institute, discusses the findings.

Health

Good post by Marc Gunther (Nonprofit Chronicles) on why this Super Bowl is likely to be the last one he ever watches.

International Affairs/Development

On Monday, the World Health organization declared the outbreak of Zika virus a global public health emergency. The New York Times' Sabrina Tavernese and Donald G. MacNeil, Jr. report.

According to UNICEF, more women and children are now migrating to and through Europe than adult males -- and many children are traveling alone. In related news, organizers of the annual Syria pledging conference are requesting a record $9 billion from the international donor community by the end of 2016. In comments to the New York Times, Jan Egeland, a former Norwegian diplomat who heads the Norwegian Refugee Council, characterized the humanitarian response to the Syrian refugee crisis as grossly inadequate and said, "What we are witnessing now is a collective failure to deliver the necessary support to the region. We are witnessing a total collapse of international solidarity with millions of war victims."

"If social scientists and policy makers have learned anything about how to help the world's poorest people, it's not to trust our intuitions or anecdotal evidence about what kinds of antipoverty programs are effective, write Dean Karlan,a professor of economics at Yale and founder of the nonprofit Innovations for Poverty Action, and Annie Duflo, the organization's executive director, in the New York Times. Rigorous randomized evaluations, on the other hand, "can show us what works and what doesn't....Hope and rhetoric are great for motivation, but not for figuring out what to do."

There was some good news on the global public health front in January. The UN Foundation's Jenni Lee has a roundup.

Leadership

On the Fast Company site, Dan Hoffield breaks down the proven habits of charismatic leaders.

Nonprofits

What are you doing to be happier and healthier in 2016? Hosted by Beth Kanter, the January Nonprofit Blog Carnival is chock full of great advice, including posts from Kathy Naylor, Lori Jacobwith, Suzette Annan, Joyce Lee-Ibarra, Erik Anderson, and Megan Keane.

Philanthropy

"You would be hard-pressed to find anyone who doesn't credit the Barr [Foundation] for its enormous largesse, as the left-leaning charity funds causes that are dear to the city's liberal residents. But you would also be hard-pressed to find a grantee who will critique the foundation publicly. No big surprise," writes Patti Hartigan in a Boston Magazine profile of Jim Canales, the foundation's new president. "Barr makes its grants by invitation only. Those who receive funding want to keep it, and those who don't want to get it."

The L.A.-based Weingart Foundation has announced that, due to a recent surge in requests for capital funding, "effective immediately and until further notice, the foundation will not be accepting any new Letters of Inquiry (LOIs) for [such] funding."

On Fast.Co.Exist, staff writer Ben Schiller reviews Linsey McGoey's No Such Thing As a Free Gift: The Gates Foundation and the Price of Philanthropy, which he finds a little "mean-spirited" but fundamentally sound in its critique of philanthrocapitalism and philanthrocapitalists.

Public Affairs

In a post on the Ford Foundation's Equals Change blog, Jean Ross, program officer for civic engagement and government at the foundation, argues that the crisis in Flint, Michigan, is about more than poisoned water. "In the short term, we know what to do about the water crisis: Distribute bottled water, and change the water source," Ross writes.

But once those most immediate problems are addressed, we're left with the same system that helped create the problem, and it continues to reinforce inequalities that shape the lives of people in Flint. The use of emergency managers has been largely reserved for cities with majority-black populations, where residents find their lives presided over by officials who are more concerned with financial health than public well-being. That's what led to the water crisis. Emergency manager control has also limited residents' ability to participate in decisions about how to fix public schools in Detroit and other communities that are close to financial collapse...

Social Innovation

Last but not least, be sure to check out Nell Edgington's ten best social innovation reads from January, including articles by Markets for Good blogger David Henderson, CauseWired president Tom Watson, and nonprofit leadership expert Tom Klaus.

That's it for now. What have you been reading/watching/listening to? Drop us a line at mfn@foundationcenter.org or via the comments section below....

Weekend Link Roundup (December 26-27, 2015)

December 27, 2015

New-years-resolutionsOur weekly round up of noteworthy items from and about the social sector. For more links to great content, follow us on Twitter at@pndblog....

Arts and Culture

Eight years after its controversial Central Library Plan was greeted with alarm and derision, the New York Public Library  is moving forward with a $300 million renovation of its historic midtown campus, and this time, library leaders say, "it's a different story." WNYC's Jessica Gould reports.

How can we talk about art and artists in a way that makes clear their contributions to quality of life in the communities we call home? Veteran policy advocate and communicator Margy Waller shares some thoughts on Americans for the Arts' ArtsBlog.

Civil Society

On the Open Society Foundations' Voices blog, OSF president Christopher Stone notes the troubling fact that, in countries around the world and for a variety of reasons, "active citizenship is under attack and the space for civic engagement is closing."

Climate Change

Andrew Simmons, founder of the JEMS Progressive Community Organization and the Caribbean Youth Environment Network and a previous winner ('94) of the Goldman Environmental Prize, talks to the folks at GEP about the global agreement forged at the recent Convention on Climate Change (UNFCCC/COP21) summit in Paris and whether it is enough to save vulnerable island-nations from disaster.

Corporate Philanthropy

Based on Corporate Responsibility magazine's list of the 100 Best Corporate Citizens of 2015, the folks at the JK group share ten lessons from their work that make these companies the best in philanthropy and how yours can follow suit.

Criminal Justice

On the Marshall Project site, Vincent Schiraldi, formerly director of juvenile corrections for Washington, D.C., and a senior advisor to the Mayor's Office of Criminal Justice in New York City, argues that in order to truly end mass incarceration in the U.S., "we need to completely shutter the doors of youth prisons...."

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Weekend Link Roundup (October 31-November 1, 2015)

November 01, 2015

Vote-buttonOur weekly round up of noteworthy items from and about the social sector. For more links to great content, follow us on Twitter at @pndblog.

Arts and Culture

"Since the time of Alexandria, libraries have held a symbolic function. For the Ptolemaic kings, the library was an emblem of their power; eventually it became the encompassing symbol of an entire society, a numinous place where readers could learn the art of attention which, Hannah Arendt argued, is a definition of culture." Sadly, writes Alberto Manguel in the New York Times, that function is being diluted by the demands of a society "too miserly or contemptuous...to meet [its] essential social obligations...."

Climate Change

On the Transformation blog, the Kindle Project's Arianne Shaffer and Fatima van Hattum argue that the grantmaking strategies of the Chicago-based MacArthur Foundation illustrate in a profound way the "ongoing limitations and contradictions of conventional philanthropy" with respect to the threat of global climate disruption.

Corporate Philanthropy

Corporate Responsibility Magazine has announced the winners of its 2015 Responsible CEO of the Year Award.

Education

Should Angelenos be troubled by the fact that the Los Angeles Times ' new education-reporting project "is being funded by some of the very organizations the new education-reporting project is likely to be covering"? Paul Farhi, the Washington Post's media reporter, tries to get some answers.

Giving

Just in time for the holidays, "Bloomingdale’s is selling philanthropy as a lifestyle," writes Amy Shiller in the Chronicle of Philanthropy. Through its new Icons with Impact campaign, the upscale retailer, says Shiller, is positioning philanthropy as "a meta-brand, uniting retailers, spokesmen, and consumers in a transaction where ethics and esthetics — that is, doing good and looking good — are synergistically reinforcing, apparently without any sacrifice or conflict in fundamental aims...."

Charitable giving in the U.S. over the next two decades could reach $8 trillion — $6.6 trillion in cash contributions (much of it to family foundations) and $1.4 trillion in volunteer services (calculated at $23.63/hour). Forbes staff writer Ashlea Ebling reports.

Who are the twenty people who have given the most to charitable/philanthropic causes? And how many of them are under the age of thirty-five? Business Insider has the skinny.

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Curtains? The Future of the Arts in America

September 28, 2015

 PhilanTopic is on vacation this week. While we're away, we'll be sharing some of our favorite posts from the last year or three. This post was originally published in May 2015. Enjoy.

The arts — as we know it — are doomed. The broad cultural and economic consensus of the last century that placed paramount value on the arts, arts education, and art institutions has been lost like the voice of Yeats' falconer in the widening gyre. Tomorrow we will have less art, and we will be the poorer for it.

Cover_Curtains_the_future_of_the_Arts_in_AmericaLike an Old Testament prophet, Michael M. Kaiser, the former president of the John F. Kennedy Center for the Performing Arts, warns of a fundamental crisis in the arts: the way they are created, managed, and marketed in America is simply not sustainable. Ironically, as recently as 2013, Kaiser, in The Cycle: A Practical Approach to Managing Arts Organizations, was somewhat optimistic that such a worst-case scenario could be averted, and he outlined a series of steps arts organizations could take to fortify themselves for the tough times ahead.

Not so much in 2015. In his new book, Curtains? The Future of the Arts in America (Waltham, MA: Brandeis University Press, 2015), Kaiser paints a dark picture of the future, both explaining how things came to pass and what arts organizations, especially mid-sized ones, might do to (maybe) save themselves from oblivion.

His argument goes like this: In economic terms, the arts are playing a losing hand; in almost every other industry, the costs of production are reduced over time, allowing for more goods to be sold at a lower price point. Innovation and commodification contribute to this process, enabling goods to be produced ever-more cheaply and distributed on a vast scale, which in turn allows for the increasing segmentation of consumer markets and real-time adaptation to changing tastes and expectations. Alas, almost none of this is true for the arts.

The performing arts in particular, writes Kaiser, are a labor-intensive endeavor in which every unit (i.e., performance) is numbingly expensive to produce — a cost that is passed on to members of the audience in the form of ever-rising ticket prices. Moreover, when every performance must support a portion of the salaries and pensions of hundreds of performers, managers, and back-office staff, as well as theater maintenance and the marketing of the production and institution itself, it's little wonder that arts professionals look to the future with pessimism and deep anxiety.

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PND Talk: Why Give to the Arts When People Are Starving?

September 23, 2015

PhilanTopic is on vacation this week. While we're away, we'll be sharing some of our favorite posts from the last year or three. This post was originally published in January 2014. Enjoy.

Long-time readers of Philanthropy News Digest may remember PND Talk, the message board we launched back in 2004 and maintained for the better part of a decade (until the launch of our new site in November).

During its heyday, PND Talk was a lively community frequented by a regular cast of generous, knowledgeable nonprofit professionals — people like Susan Lynn, Sheryl Kaplan, Rick Kosinski, Julie Rodda, Tony Poderis, and the late (and much missed) Carl Richardson and Linda Procopio.

Recently, some of us were reminiscing about PND Talk and the friends who made it such a valuable resource for so many years. And that got us thinking: Wouldn't it be great if we could share some of their advice and wisdom with our readers here at PhilanTopic?

Well, we can and we're going to — starting with the post below by author and fundraising consultant Tony Poderis, who for twenty years served as director of development for the world-famous Cleveland Orchestra. In it, Poderis addresses the longstanding dilemma faced by all development professionals in the nonprofit arts world: How do you justify philanthropic support for the arts and culture when so many people, here and around the world, struggle to secure the basic necessities of life? It's an interesting and provocative post, and we think many of you will want to add your thoughts in the comments section below....

_____

Arts_jobs_buttonFor those of you laboring — with love — in the nonprofit "field" of arts and culture, I can guess, with reasonable certainty (I come from that background, too), that you are challenged at times to justify your organization's existence, particularly at a time like this, when so many other, "more worthy" societal needs are crying to be met. How do you respond?

I've had to address that difficult question many times over many years. And for many arts and culture organizations, it continues to be a pressing one. I hope what follows is of some help the next time you are so challenged.

Why give to the arts when people are starving?

I actually saw that question scrawled among the marginal notes in a funding proposal for an orchestra. The notes were penned by a trustee of a grantmaking foundation during a meeting to review the proposal. Another trustee of the foundation, the one who presented the proposal on behalf of the orchestra, later shared the notes with me and asked what I could do to help counter his colleague's questioning remark.

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The Art of Memory

September 18, 2015

PhilanTopic is on vacation this week. While we're away, we'll be sharing some of our favorite posts from the last year or three. This post was originally published in October 2010. Enjoy.

Earlier this month, in Buenos Aires, closing arguments were made in one of the legal cases brought against the military dictatorship that ruled Argentina between 1976 and 1983, the period of the so-called Dirty War. The case, referred to by the names of the three clandestine military centers ("Atlético-Banco-Olimpo") where 181 victims were detained, is one of hundreds that have been opened since the amnesty laws that protected members of the military from being prosecuted for crimes against humanity were struck down. The trials are open to the public, and the courtrooms have been packed by families of the victims and citizens interested in a resolution to this painful episode in the country's history.

Architecture, sculpture, and painting; music; film and video; poetry, drama, prose -- all have been employed to tell the tragic story of a people's loss and pain after similarly brutal episodes in the past. The arts are fundamental to the process of memorialization.

In Argentina, the process has included myriad plaques and other expressions of remembrance and remembering. At the national level, a group of ten human rights organizations gained the support of legislators in 1998 to establish the Park of Memory on the banks of the river that forms the country's northeastern boundary, the Rio de la Plata, and construct the Monument to the Victims of State Terrorism. In short order, an international competition to commission additional sculpture and a visitors center for the park was launched.

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[Review] Patience and Fortitude: Power, Real Estate, and the Fight to Save a Public Library

September 17, 2015

Book_patience_and_fortitudeScott Sherman's Patience and Fortitude: Power, Real Estate, and the Fight to Save a Public Library is a nuanced, enlivening, and ultimately sobering account of the birth and death of a plan to renovate and reorganize the New York Public Library, whose iconic main branch on Fifth Avenue in midtown Manhattan has welcomed millions of scholars, researchers, and readers since it opened in 1911. While the book is an impressive exercise in investigative journalism — providing, as it does, a meticulously researched account of the development of the "Central Library Plan" (CLP) — and the loud public rejection of said plan — it is also a paean to the NYPL and the power of citizen engagement.

Indeed, were it not for the impassioned voices of countless New Yorkers raised against the CPL, people like author Junot Diaz, who wrote, as part of a campaign protesting the plan, that "[t]o destroy the NY Public Library is to destroy our sixth and best borough; that beautiful corner of New York City where all are welcome and all are equals, and where many of us were first brought to the light," it is likely the institution's leaders would have succeeded in "repurposing" the library for the digital age while creating an enormously valuable parcel of land in the heart of one of the priciest real estate markets on the planet.

Taking its title from the two granite lions standing guard at the entrance to the library's landmarked building on Fifth Avenue, Patience and Fortitude examines in detail the plan's origins, as well as the objections to it, which focused on the proposal to transfer three million books from the library's basement stacks to a state-of-the-art storage facility in Princeton, New Jersey. In the process, Sherman, who first reported on the CLP in The Nation, reminds his readers that, throughout its storied history, the NYPL was funded by New York-based business and civic luminaries — Astor, Carnegie, and Rockefeller, among them — in the name of private philanthropy for the public good. The CLP, in contrast, was designed by consulting firms with an expertise in real estate and appears to have been driven by a handful of wealthy library donors, including some sitting trustees, with their own interests in mind.

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Most Popular PhilanTopic Posts (June 2015)

July 01, 2015

Book reviews from two of our favorite contributors, a timely look at the future of community foundations from Silicon Valley Community Foundation president Emmett Carson, a thought-provoking post on the relationship between philanthropy and inequality by Foundation Center president Brad Smith, a cool infographic from CECP and the Conference Board, and great advice for nonprofits from Claire Axelrad and Bethany Lampland — all that and more helped make June the second-busiest month ever at PhilanTopic. Best of all, you've got a long holiday weekend to catch up on the good stuff you may have missed. Have a happy and safe Fourth!

Read, watched, or listened to anything lately that surprised or made you think? Share your find with others in the comments section below, or drop us a line at mfn@foundationcenter.org.

[Review] Curtains? The Future of the Arts in America

May 28, 2015

The arts — as we know it — are doomed. The broad cultural and economic consensus of the last century that placed paramount value on the arts, arts education, and art institutions has been lost like the voice of Yeats' falconer in the widening gyre. Tomorrow we will have less art, and we will be the poorer for it.

Cover_Curtains_the_future_of_the_Arts_in_AmericaLike an Old Testament prophet, Michael M. Kaiser, the former president of the John F. Kennedy Center for the Performing Arts, warns of a fundamental crisis in the arts: the way they are created, managed, and marketed in America is simply not sustainable. Ironically, as recently as 2013, Kaiser, in The Cycle: A Practical Approach to Managing Arts Organizations, was somewhat optimistic that such a worst-case scenario could be averted, and he outlined a series of steps arts organizations could take to fortify themselves for the tough times ahead.

Not so much in 2015. In his new book, Curtains? The Future of the Arts in America (Waltham, MA: Brandeis University Press, 2015), Kaiser paints a dark picture of the future, both explaining how things came to pass and what arts organizations, especially mid-sized ones, might do to (maybe) save themselves from oblivion.

His argument goes like this: In economic terms, the arts are playing a losing hand; in almost every other industry, the costs of production are reduced over time, allowing for more goods to be sold at a lower price point. Innovation and commodification contribute to this process, enabling goods to be produced ever-more cheaply and distributed on a vast scale, which in turn allows for the increasing segmentation of consumer markets and real-time adaptation to changing tastes and expectations. Alas, almost none of this is true for the arts.

The performing arts in particular, writes Kaiser, are a labor-intensive endeavor in which every unit (i.e., performance) is numbingly expensive to produce — a cost that is passed on to members of the audience in the form of ever-rising ticket prices. Moreover, when every performance must support a portion of the salaries and pensions of hundreds of performers, managers, and back-office staff, as well as theater maintenance and the marketing of the production and institution itself, it's little wonder that arts professionals look to the future with pessimism and deep anxiety.

It wasn't always this way. A half-century ago, with the U.S. economy booming, government coffers bursting, and the costs of sustaining arts institutions much less daunting, the arts in America entered a sort of golden age. Arts education increasingly was viewed as a social good to be sustained with taxpayer dollars, and children, as they grew older, followed their parents' lead and became arts consumers and patrons in their own right. While twentieth-century forms of entertainment such as movies, television, and pop music all competed with live performances of more traditional art forms for audience dollars and attention, they served, more than anything else, to fuel Americans' interest in and a broader engagement with the arts. In particular, visionary investments like those made by the Ford Foundation in developing networks of regional theaters enabled the performing arts to flourish in cities large and small, while Lucille Lortel made Off-Broadway a household name.

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Weekend Link Roundup (February 14-15, 2015)

February 15, 2015

No-snow-signOur weekly roundup of noteworthy items from and about the social sectorFor more links to great content, follow us on Twitter at @pndblog....

Advocacy

Foundations and philanthropists need to find new ways to advocate in the post-Citizens United world, write Shelley Whelpton and Andrew Schultz on the Arabella Advisors blog, "or risk ceding influence over national policy to those who are willing and eager to play by the new rules."

Arts and Culture

Nice post on the Dodge Foundation blog by ArtPride's Ann Marie Miller, who curates recent research and opinions on what she terms the "shifting paradigms" in the arts field. 

Education

The American Enterprise Institute's Jenn Hatfield shares three takeaways from a series of papers released last week at an AEI-hosted conference on education philanthropy:

  1. Education philanthropies have shifted their focus from trying to influence school systems to trying to influence policy.
  2. Education philanthropy is getting more attention, and a lot more criticism.
  3. Education philanthropies are evolving, and maybe even learning.

Impact/Effectiveness

In a heartfelt post that serves as a compelling counterpoint to a recent op-ed by Jennifer and Peter Buffett in the Chronicle of Philanthropy, Jed Emerson argues that, yes, "metrics matter." And while "too many of those in the impact investing community view an effective metrics reporting system as 'nice to have' as opposed to 'critical to our practice in advancing impact'...

the myth persists that we can attain our goal of effective and relevant metrics assessment and reporting. One must ask, after all the frustration and challenges, why do we bother? I submit we persist in our pursuit because we know at a deeply visceral level our goal of integrating meaningful metrics into the core of our efforts to create a changed world has value and is central to who we are....

International Development

Are insecticide-treated bed nets the most effective intervention against malaria in the global development toolkit? Maybe not, writes Robert Fortner in a special report on the Humanosphere site.

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5 Questions for…Ian Clark Devine, Board Member, Bellosguardo Foundation

November 17, 2014

In the last years of her long life, heiress Huguette Clark became one of New York society's most-whispered-about curiosities. Born in Paris in 1906 to 67-year-old William Andrews Clark, a wealthy Guilded Age businessman, and Anna Eugenia La Chapelle, Clark's second wife, young Huguette grew up in splendid luxury in Manhattan and counted among her friends and contemporaries some of her father's grandchildren, including Devine's grandmother. After her father died in 1925, the young heiress and her mother moved from his Upper East Side mansion to a nearby apartment on Fifth Avenue, where Huguette lived for much of the rest of her life. After a short-lived marriage ended in 1930, she turned to art and art collecting, kept up her French and Spanish, and developed a passion for dolls, dollhouses, and Japanese culture. As she grew older, she also became increasingly withdrawn and reclusive — so much so, that when she passed away in 2011 just two weeks shy of her 105th birthday, only a handful of people could say they had seen her in the last twenty years.

Clark's death sparked a flurry of interest in her long, mysterious life — and in the disposition of her will, which almost immediately was challenged in court by members of her extended family. After two years, the case was settled in the family's favor, with the bulk of her fortune, including Bellosguardo, her coastal estate in Santa Barbara, California, going to charity. Earlier this month, PND exchanged emails with Ian Devine about the case and the creation of the Bellosguardo Foundation, which will oversee the Santa Barbara property, including its furnishings, artwork, and Clark's extensive doll collection.

Headshot_ian_clark_devinePhilanthropy News Digest: At the time of her death, your great-grand-aunt's estate was estimated to be worth around $400 million and included expensive real estate in Manhattan, Connecticut, and California; paintings by the likes of Cezanne, Renoir, and Sargent; and, famously, her antique doll collection. The disposition of her estate was challenged soon after her death by twenty of her grandnephews, grandnieces, great-grandnephews, and great-grandnieces, including you. Why did the family feel it necessary to challenge the will, and what, in your view, were the issues at stake?

Ian Clarke Devine: The Clark family worried that Huguette's advisors were taking advantage of her. There were signs of financial exploitation, family access was denied, one of her advisors was a convicted sex offender. The plight of Brooke Astor was very much in our minds. Family members filed a guardianship petition in 2009 seeking an independent firm to manage her finances and an independent evaluator to investigate her care. Despite indications of improper fiduciary management, the petition was denied.

When Huguette died in 2011, two radically different wills emerged, written only six weeks apart — after she had refused to create a will for more than fifty years! There were irregularities with both wills and several ethically dubious provisions. Taxes hadn't been paid in years. Challenging the will was the only way to uncover the truth. In fact, subsequent depositions under oath produced evidence of actions and behavior even more shocking than we had imagined. To boil it all down, the professionals closest to our aunt took advantage of her emotional vulnerabilities for personal and institutional gain. The doctors failed to assess her mental health. The Clark family believed that the professionals involved had to be held accountable.

PND: The dispute recently was brought to a close with the help of the New York Attorney General's office and the New York Public Administrator's office. In broad outline, tell us about the terms of the settlement.

ICD: The probate litigation and the settlement confirmed the family's belief that Huguette was the victim of emotional and financial abuse at the hands of her advisors and caregivers. It vindicated our decision to challenge the will. Though it took an excruciatingly long time, the settlement was quite sophisticated and honored Huguette's wishes as best as they could be discerned. The family was strongly in favor of the outcome.

The most welcome result was that the Bellosguardo Foundation, which otherwise might have become a vehicle for the enrichment of certain advisors, now holds tremendous potential to benefit the Santa Barbara community and the art world at large. Bellosguardo will be a place of pride. Credit is due to the New York State Attorney General's office and its Charities Bureau for outlining the steps to make Bellosguardo a viable foundation and a vital new force in the arts. And the settlement's structure will allow other charitable organizations to benefit in the future. All good outcomes!

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5 Questions for...Moukhtar Kocache, author, ‘Framing the Discourse, Advancing the Work: Philanthropy at the Nexus of Peace and Social Justice and Arts and Culture’

November 03, 2014

Headshot_moukhtar_kocacheEarlier this year, the Working Group on Philanthropy for Social Justice and Peace issued a report, Framing the Discourse, Advancing the Work: Philanthropy at the Nexus of Peace and Social Justice and Arts and Culture, that highlighted the synergy between the arts and social movements around the globe — and the general reluctance among funders to fund arts initiatives with a social justice component, and vice versa.

Recently, PND spoke with Moukhtar Kocache, the report’s author, about some of the challenges foundations face in funding "social-change-through-arts" initiatives and what can be done to change the existing dynamic. Kocache is an independent civil society, nonprofit, and philanthropy consultant whose areas of expertise include arts and culture, media, gender equity, social justice, and cultural activism and change. From 2004 to 2012, he was a program officer in media, arts, and culture at the Ford Foundation.

Philanthropy News Digest: What are the arts uniquely able to do in situations where liberties have been eroded and freedoms suppressed that more traditional advocacy activities are unable to accomplish?

Moukhtar Kocache: The arts are ubiquitous wherever human beings come together in common cause. I have yet to see, in our own time, a social movement that did not sing, dance, paint, make theater, and record its activities. The arts are closely associated with our notions of identity, self-determination, and healing. The challenge is how to develop the strategies, mechanisms, and tools needed to get to the next level, the level at which targeted interventions that amplify the role of the arts in social change processes are conceived and implemented. So, rather than ask what the arts can do that traditional advocacy can't, I would suggest thinking about questions such as, What forms of art are most suited for a particular type of social change cause? And at what stage and through what process can the arts help people coalesce around and amplify their response to a specific social issue or reality?

Today, artistic creation and artistic processes are extremely responsive to the challenges confronting all of us as citizens of a global village; rarely these days do we see art that does not, in some way, address a social or political issue that resonates with a broader constituency. Indeed, the arts often play a role before, during, and after periods of social change, informing and galvanizing communities and even societies through the various stages of social transformation. So, it's important to think more broadly about how we as a society understand the realm of art, because that will help us tailor and design social interventions with more nuance and precision.

Consider, for instance: civil rights-era protest songs; an artist-organized campaign to shut down a supermax prison; young women learning to make and screen short films about their marginalized role in society; a community working with artists and architects to redesign and rehabilitate public housing; victims and perpetrators of genocide engaged in making theatre together; children creating art in refugee camps; and so on. It's a short list, but it demonstrates how diverse activities that fall under the rubric of "art" can be, and how, at various times and through specific mechanisms, these activities help communities to heal, feel proud, build social cohesion, create new narratives, and mobilize for or against an issue.

PND: You write in the report that, despite growing interest in "the symbiotic relationship between art, self-determination, cultural democracy and social justice," arts funders and social justice funders remain reluctant to support "social-change-through-arts" initiatives. What are the reasons for that reluctance?

MK: Arts funders would say, "We do not fund social change," while social justice funders would say, "We don’t fund the arts." But this binary dynamic has meant that a wealth of learning and opportunities for impact has been missed and that a lot of grassroots creativity in marginalized communities is not being harnessed for social change. Part of the problem has to do with limited resources and capacity at the funder level where, for many grantmakers, supporting something new often is seen as too experimental, too risky, and/or a distraction from more "serious" and conventional funding strategies. Foundation staff also tend to feel ill equipped to venture into fields where they have little expertise, even though most people understand, at both a visceral and intellectual level, the power of the synergy between the two types of funding. I believe, however, that with time, foundations will become more versed in both the arts and social justice traditions, and that that will lead to more knowledge and a greater willingness to experiment among funders on either side of the funding divide we are talking about.

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‘Under Construction’: Healing With a Groove

October 29, 2014

Under_construction_logoUnder Construction is a multimedia online exhibit showcasing some of the best and brightest organizations working with males of color. The UC team of filmmakers, photographers, writers, and nonprofit experts worked directly with each of these organizations for several weeks. The collaborations yielded comprehensive portraits of the services men of color receive. Each profile features a short video, a photography exhibit, a visual program model, and a narrative essay detailing the efforts of these organizations.

Under Construction is a project of Frontline Solutions and was made possible through the support of the Robert Wood Johnson Foundation. For more profiles, click here.

Where there is joy, there is music. Frustration, music. Hope, music. Love found, love lost, music and more music. It expresses emotion when words alone are inadequate and provides a soundtrack for our lives.

In the Mississippi Delta, the cradle of the blues, the black experience has been chronicled by enduring and endearing songs that lament racism, relationship problems, social inequity, and the aggravation of being broke. The blues are a gift to the world, one that the Delta is best known for. The music spills out of unassuming juke joints that come alive after dark and that have produced more GRAMMY Award winners per capita than any other region of the country.

The blues is not necessarily the preferred language of the young men coming up now, though. They speak hip-hop and make personal heroes out of Southern-born rappers like Lil' Boosie and Yo Gotti, artists celebrated for their lyrical realness and rags-to-riches success. The issues that both genres address are the same, but the stories born out of them are set to a different beat.

It’s fertile ground for Healing With a Groove.

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Knight Cities Challenge: We Want Your Best Idea to Make Gary More Successful

October 17, 2014

Knight_cities_challlengeThe City of Gary, Indiana, is ushering in a new era. The days when the city was synonymous with urban blight and crime are fading into the distance.  Once a symbol of disinvestment standing next to City Hall, the Sheraton Hotel is being demolished and will be replaced with community green space.  Marquette Park has undergone an extensive renovation, making it a hub for community and family-focused events, including Gary's first marathon. Thanks to hundreds of volunteers, a newly renovated Boys and Girls Club sits in the once vacant Tolleston School. Gary's hometown brewery is producing critically acclaimed beer and continues to grow. And, IUN and Ivy Tech have partnered to build a new Arts and Sciences building on the corner of 35th and Broadway to serve as a cornerstone for future redevelopment projects.

The city is on the upswing, and everyone from teachers to business owners is feeling it.  But what's behind Gary's revival, and what can we do to maintain, support, and build on the transformation? How do we ensure that Gary continues to become a more vibrant place to live and work?

Over the next three years, the John S. and James L. Knight Foundation, a private, independent foundation based in Miami, will invest $15 million to answer these questions in Gary and twenty-five other communities across the United States. The foundation believes it is the city's own activists, designers, artists, planning professionals, hackers, architects, officials, educators, nonprofits, entrepreneurs, and social workers who have the answers, and it wants them to take hold of their city's future. To that end, all are welcome to submit ideas to the Knight Cities Challenge in one of three areas that the foundation believes are the drivers of future success for Gary: attracting talented people, expanding economic opportunity, and creating a culture of civic engagement.

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Arts Education and Human Development: Creating Space for Transformation

October 15, 2014

Selvon_waldron_PhilanTopicArt can change lives.

For over eighteen years, we have lived that reality at Life Pieces To Masterpieces, a comprehensive arts-based youth development nonprofit serving African-American males from the most underserved communities in Washington, D.C. We have seen — over and over, with more than a thousand young men — the transformation that happens when youth connect to and embrace their creative potential. We have learned that individual brilliance is a universal trait. It only needs the space to grow.

The research is clear: the arts play a crucial role in positive youth development. They stimulate imagination; build problem-solving and critical thinking; develop perception, vision, and self-confidence; teach delayed gratification and the ability to complete long-term tasks; stimulate memory; and motivate children to learn[1]. These benefits are particularly pronounced among youth from low socioeconomic backgrounds. Across all measures of academic achievement and civic engagement, youth from low-income backgrounds with high exposure to arts outperform their peers from similar backgrounds, and they reach outcomes “closer to, and in some cases exceeding, the levels shown by the general population studied.”[2] For funders seeking to assist in closing gaps in opportunity and achievement, arts education has proven to be among the most efficient and impactful investments available.

Of course, not all arts education is created equal. As an organization committed to holistic human development, we know that process and approach matter. All that we do with our Apprentices (program participants) is rooted in our award-winning Human Development System, a concrete set of beliefs, values, and strategies to help individuals connect to their sense of purpose. Our unique, collective process is structured not only to make art fun and creative (though it certainly is) but also to serve as a vehicle for processing experiences, healing wounds, and navigating challenges. For youth facing violence and trauma, it becomes a therapeutic outlet, a chance to reconnect with a sense of control and personal power in an often chaotic world. For youth too frequently told, shown, and exposed to ideas of their own inadequacy, it becomes a powerful tool to rebuild a sense of self-worth and reconnect to the reality of their brilliance.

The philanthropic community tends to operate in perpetual pursuit of silver bullets, hunting out promising outcomes and attempting to copy-and-paste the programs that create them into new environments and communities. We are very proud of our outcomes. In a city where the graduation rate for African-American males is well under 50 percent, for eight years in a row 100 percent of our Apprentices have graduated high school. And an external evaluation of our program found that 100 percent of program participants’ parents and guardians reported improved attitudes toward the future in their children. Still, we don’t claim the specifics of our programs or our artistic process to be any type of panacea. We have grown, developed, and innovated based on the specific needs and experiences of the community of which we are a part. That is why, rather than attempting to franchise or spread nationally, we are focused on reaching more of our target population in Washington, D.C.

We do, however, believe that one of the key factors to our success can and should be applied universally. And we believe that funders seeking to create a truly meaningful and sustainable impact should put this factor at the center of their funding priorities: the intentional commitment to building an environment of love, security, and expression. In an increasingly data-driven world, that can sound soft and unscientific. But it is the truth, as we have experienced it for more than eighteen years. The type of creative expression that produces real, transformative change is only possible when youth are able to immerse themselves in a loving, safe space. What matters is not handing a young man a paintbrush; what matters is allowing that young man to experience an environment that honors and respects his potential greatness.

So before asking an organization about its outcomes, ask about the kind of space they create. How do they make space for unique identities and means of expression? How do they ensure that each individual’s specific talents, abilities, and interests are engaged? How do they provide opportunities for participants to connect with themselves, their peers, and program staff? How do they make sure, every day and in every interaction, that youth in their programs feel loved, safe, and able to express their true selves? When those questions are answered honestly, with thought, care, and intentionality, you can trust that positive outcomes will follow.

Art can change lives. Creating an environment in which it does so is the real art of arts education.

Selvon Waldron, executive director of Life Pieces To Masterpieces, is a youth development leader and human rights activist.


[1] “Fact Sheet About the Benefits of Arts Education for Children,” Americans for the Arts. Washington, DC. 24 September 2013

[2] James S. Catterall, Susan A. Dumais, and Gillian Hampden-Thompson. “Arts and Achievement in At-Risk Youth: Findings from Four Longitudinal Studies.” Arts.gov, National Endowment for the Arts. Washington, DC. March 2012

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