Private Foundation

This time it was the catastrophic devastation in the Gulf States. Last time it was the 9/11 attack. Before that were the floods in North Dakota, the earthquakes in San Francisco and Seattle, and Hurricane Hugo in South Carolina, and then

Each time disaster strikes — whether natural or man made — communities face inestimable emotional and economic suffering. When artists, arts organizations, and cultural institutions are affected by these disasters, the confusion and bewilderment about what to do and how to help extends very directly to us as arts grantmakers.

Who's afraid of symphony orchestras? It seems that lots of foundations are these days. It has been exactly a half century since the Ford Foundation's massive sixty plus million dollar program was introduced to stabilize orchestras. Ford's initiative was followed by others and foundation funding became a major component of orchestra support for a few years. But today, only one foundation has a major national funding program for orchestras. Even many local foundations seem cautious about supporting them.

Civic Dialogue, Arts & Culture
Findings from Animating Democracy
Pam Korza, Barbara Schaffer Bacon, and Andrea Assaf
2005, 312 pages, $24. Americans for the Arts, Washington DC, ISBN-13: 978-1-879903-33-3 (alk. paper)
Available online from Americans for the Arts

Cultural Perspectives in Civic Dialogue
Case Studies from Animating Democracy
Pam Korza and Barbara Schaffer Bacon

When I mentioned to an arts funder that I was reading a book called Integrating Mission and Strategy for Nonprofit Organizations she sighed and said we needed to stop using words like strategy. I asked why and she said, "Funders got arts organizations to start using these business words years ago, but nothing has changed. They are not in better shape." The author of the book, James A. Phills, Jr., might suggest the problem was not so much the concept of strategy, but rather a general misunderstanding and misuse of the word itself.

2005, 36 pages. Grantmakers for Effective Organizations, 1413 K Street, 2nd floor, Washington, DC 20005, 202-898-1840, www.geofunders.org

Can you explain, in simple terms, how you or someone you know is changed by listening to music, watching a dance performance, looking at an artwork, or writing in a journal? I’d be hard pressed to manage a coherent response.

It’s not easy to talk about how art transforms or how we are different because of it. Many who work in the arts, including those of us who do so because of our belief in the transformative power of art, lack a vernacular for communicating its impacts.

May 2005, The Urban Institute, 2100 M Street, N.W. Washington, DC 20037, (202) 833-7200, www.urban.org

"The idea that expressive activities contribute to building and preserving communities has become an increasingly important part of economic development and community revitalization discourse in cities, towns and nations around the world."
Carole Rosenstein, Ph.D.

2005, 32 pages. The Boston Foundation, Boston, MA, 02116

This study reports on the impact and roles of arts service organizations (ASOs) in the Boston area and nationwide. Considered "the unacknowledged gems of the cultural ecosystem," ASO services help other nonprofits to achieve certain economies of scale and to function as if they were larger operations. At the same time, many ASOs themselves do not have the budgets or staff capacities to make a real impact. The study outlines a strategy for supporting this segment of the cultural sector.

2005, 242 pages. University Press of New England, Lebanon, NH, 03766

2005, 20 pages. The Urban Institute, The Foundation Center, GuideStar.org, Washington, DC, 20037 www.urban.org

PDF available at The Urban Institute