TOWARD THE FUTURE OF ARTS PHILANTHROPY The Disruptive Vision of the Memphis Music Initiative

participation INK CONTENTS

EXECUTIVE SUMMARY IV FOSTERING EQUITABLE ARTS ORGANIZATIONS TO CREATE EQUITABLE COMMUNITIES 1 INTRODUCTION/ DIVERSITY, EQUITY, AND INCLUSION 4 Arts Philanthropy and Racialized Communities 6

Mainstream Approaches: Four Dimensions 9

Assessing the Problems Inherent in Arts Funding 14

Naming the Problem: Philanthropic Redlining 17

Identifying a New Model: Disruptive Philanthropy 18

THE MEMPHIS MUSIC INITIATIVE MODEL 22 Empowering Youth and Families Through Music 26

Addressing Race, Culture, and Socioeconomics in Memphis 26

Using Community Cultural Assets to Address Community Needs 28

Engaging in Arts-Based Youth Development 30

The Transformative Practice: Disruptive Philanthropy 36

Challenging the Arts Dichotomy Cultivating a Black Arts Ecosystem Being Invested in Community Having a Dual Structure Using Data to Support Practice

THE CHALLENGES AND OPPORTUNITIES OF SCALING DISRUPTIVE PHILANTHROPY 54 APPENDICES AND REFERENCES 59 References 60

(Front cover) Student performance of MMI grantee Study Methods 61 Harmonic South Strings Orchestra summer program based in the Soulsville neighborhood. Glossary 64

All photos of MMI projects by David Rosendberry, www.davidrosenberry.me Project Team 68 EXECUTIVE SUMMARY TOWARD THE FUTURE OF ARTS PHILANTHROPY

MMI grantee Memphis Jazz Workshop youth performance during summer 2017 at Trezevant Manor, a senior living community. Images form the 2017 MMI Works Summer Intership orientation sessions. The number of youth enrolled and WHAT DO DIVERSITY, EQUITY, AND the number of work sites available doubled from its inaugural year INCLUSION IN ARTS FUNDING AND in 2016. PRACTICE LOOK LIKE?

arts organizations to move to becoming Over the past several years, many authors— Arts Philanthropy and funds. These include (a) what is considered more market-based, with a focus on including arts practitioners, academics, Racialized Communities to be art; (b) the perceived purpose of the audience development and fee-for-service and funders—have put forth theories and The meaning and practice of philanthropy arts in relationship to communities, society, as core revenue streams. frameworks that provided guidance for, but has evolved over time. Philanthropy today and the nation; (c) the requirements put

few extant examples of, what arts equity is defined as “the practice of organized and in place to receive funding; (d) how, and While these approaches may be efficacious looks like in action. Since early 2014, the systematic giving to improve the quality of whether, diversity, equity, and inclusion for mainstream arts organizations, it is Memphis Music Initiative (MMI) has engaged human life through the promotion of welfare should impact arts ecosystems, funding, not so for culturally based, folk arts, or in a unique form of arts philanthropy that and social change” (National Philanthropic and programming; and (e) the value of arts community-based arts organizations. is a promising approach for equity and Trust, 2017). Although there have been organizations based on subjective criteria Historically, responsive funding in the inclusion. seismic shifts in the demographics of including size, budget, composition, mission, the United States, these have not been arts has focused primarily on building and impact. institutions to preserve and present Using a variety of qualitative methods, mirrored in private foundations nor in their arts and culture based in the classical this study evaluates the funding and grantmaking practices (Kasper, Ramos, This philanthropic redlining has resulted European canon. Place-based and collective programmatic practices of MMI in the & Walker, 2004). Large foundations still in a chronic lack of resources and lack impact arts funding initiatives primarily broader context of arts funding, arts give only a modest amount of funding to of access to funding networks among have focused on fostering economic education, youth development, and nonprofit organizations that are rooted in racialized organizations, which makes them and community development that serve community empowerment to discern the racialized communities. much more vulnerable than mainstream dominant community interests. If the fundamental elements of the model, its arts organizations. Racialized organizations funders have equity-related interests at all, effectiveness, and the lessons that others Contemporary arts philanthropy follows have been historically excluded from circles they often focus on the importance of arts who are committed to equity might the archetypal trends of the larger non- of wealth, and this is acutely reflected in engagement to provide access to “high arts” learn. The analysis is situated in a larger profit philanthropic landscape; funding Memphis. to racialized communities. discussion of (a) the effects of race and initiatives that are responsive, place-based,

place on access to funding and resources, or focused on collective impact can all be Identifying a New Model: Mainstream approaches —both public and which we call philanthropic redlining; found within the arts sector. Regardless of Disruptive Philanthropy private — to arts funding generally and and (b) the sustained and good-faith model, arts funders are increasingly focusing Disruptive philanthropy is a practice of diversity specifically, are insufficent for commitment to combat this phenomenon on relationship building, technical assistance, conscious giving. It is informed by an racialized communities. A multitude of through the practice of disruptive capacity building (including continuing awareness of how traditional strategies structural and institutional criteria impact philanthropy. training for arts leaders), collaboration, of philanthropy exclude communities, innovation, and donor involvement. Funders the ability of racialized arts organizations organizations, and practitioners that do not are also increasingly encouraging nonprofit to attract funding, especially transformative meet certain privileged criteria, even if their

vi TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI EXECUTIVE SUMMARY vii inability to meet said criteria is a result of of discrimination, including racism, and THE TRANSFORMATIVE city and county have a profound impact on historical neglect from both the public and disinvestment by geographic location. PRACTICE OF DISRUPTIVE the mission, vision, and philosophy of the private sectors. Disruptive philanthropy: ` creates tools to evaluate the effectiveness PHILANTHROPY: organization. The history and context shape of models implemented, which allows MMI’s work: Memphis is a majority-minority ` starts with the understanding that THE MMI MODEL institutional and structural racism shapes responsiveness to extant needs, pivots in city, with socioeconomic challenges real time, and tailored approaches; and (arts) funding and produces inequities in MMI uses music to address issues of access that are informed by the confluence of resources and opportunities; ` measures impact. and participation, relationship building, its negative racial history, its ambivalent ` assesses how resource and opportunity and equity in a bidirectional and sustained relationship to Black cultural capital, and its inequities manifest (e.g., transportation This practice of aware, informed, and way. It has incorporated several types labor market. Most relevant to this study is barriers, technology disparities, conscious grantmaking disrupts normative of music engagement, including band, the systematic neglect of Black residents professionalization gaps, lack of standards of giving in the broader orchestra, choir, and hip-hop production. that constitutes the political economy of access to professional and funding philanthropic landscape and models a new Such diversity allows responsiveness to Memphis. Trends in educational policies, networks, absence of key organizational way of understanding philanthropy with a housing, and employment in Memphis reveal components such as a board, lack of the interests of youth, schools, and the racial equity lens. It is an anti-paternalistic how opportunity in this city—or lack thereof, remuneration for full time staff); community at large. Music education and model of giving that supports communities programming become tools for youth in the case of Black folks—continues to be ` includes sensitivity to the particular and organizations in expanding their plagued by ghosts of the city’s past. history and development, mission and development and community engagement, capacity. Ultimately, it privileges group scope of each organization, and to the as opposed to products or commodities autonomy. In the final analysis, disruptive Many barriers, including the socioeconomic communities they serve; imposed upon—or inserted into—the philanthropy is a funding practice that community. climate, undermine youth success. MMI is ` eschews one-size-fits-all approaches; intentionally reveals, critiques, challenges, critically aware of how historical trends of ` shapes funding practices to eradicate the and seeks to upend philanthropic redlining. MMI operates within the unique context of racial discrimination have come to bear barriers that result from entrenched forms Memphis and Shelby County, Tennessee. The on wealth accumulation in the city, on PHILANTHROPIC REDLINING

Philanthropic redlining is a set of funding reality is that the very foundations that considerations of best practices, from participating practices in which an organization’s size, ostensibly exist to reduce inequity continue to in important conversations around funding, and racial or ethnic constitution, demographic reproduce inequitable practices and effects from important networks of funders and peer served, artistic designation (e.g., “high through forms of philanthropic redlining. organizations. Thus, philanthropic redlining is a art” or “community art”), and/or location practice that overwhelmingly limits opportunities results in: (a) exclusion from funding Philanthropic redlining is an institutionalized and possibilities for racialized communities. While altogether, (b) grants that are substantially and normative feature of funding that tends many funders espouse a commitment to racial lower than comparable organizations; and/ to disadvantage organizations that are deeply equity, and may have initiatives or staff members or (c) forms of funding that discourage embedded in disinvested, highly impoverished, dedicated to issues of diversity, the choices they capacity building. Such practices also and racialized communities that lack services, make in grantmaking, and the parameters they preclude the funding of organizations that resources, and other types of support. Moreover, set for the procurement of dollars, do little to may need substantial development and/ because these organizations are underfunded challenge—and in fact tend to reproduce—gross or wraparound services that would ensure and may operate with values that diverge inequities in funding allocation. their viability. A particularly pernicious from the mainstream, they are excluded from

viii TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI EXECUTIVE SUMMARY ix arts giving, and on youth access to quality activities that were already happening in Through its work, MMI builds coalitions Not only did MMI fund organizations that arts education. Its grantmaking reacts, those communities. and develops strategies that challenge the have a range of musical practices, but its responds, and seeks remedy to the gross 4. Through its Institute for Nonprofit norms of arts philanthropy. As a funder, music fellows taught a variety of music maldistribution of Memphis’s abundant Excellence, MMI focused on executive- MMI is at the forefront in implementing programs in schools. For instance, MMI resources. level leadership and organizational innovative funding techniques that provide Fellows were observed leading in-school development within community not only dollars but also professional and classes ranging from piano lessons and MMI uses existing cultural assets to address arts organizations. Many of these organizational support, access to funding orchestra to hip-hop lyricism, gospel, and the pressing needs. In its work from 2014- organizations have not received networks, space for peer organizations soul music. As MMI develops a Black arts 2016, it used four primary strategies to substantive capacity investments to interface, and development services. In ecosystem, its effort is not to replicate encourage youth success: to position the organizations for this way, MMI is integral to the cultivation what mainstream arts ecosystems look 1. MMI provided in-school programming sustainability or growth. MMI’s of a sustainable, racially conscious arts like in most major cities, which often trace to sustain existing music education and investment of funding and consultative ecosystem in Memphis. More importantly, traditional high art/low art binaries. Instead, expand instruction through partnerships support sought to ensure organizations for MMI the community is an integral part informed by a historical consciousness of with local musicians. MMI worked directly that primarily serve racialized of the arts ecosystem, not separate from it. inequity in the arts, MMI makes available a with students, parents, school and city communities would be operating for The MMI practice of disruptive philanthropy wide range of arts opportunities that they leadership, and nonprofit professionals years to come. is composed of five key components, which believe offer unique cultural capital for and musicians to support and strengthen are summarized on the following pages. empowering communities and inciting social existing in-school music education. Through these approaches, MMI seeks change. Challenging the High Art/Low Art 2. Through its strategic growth grants to ensure that each of Memphis’s many Dichotomy: Valuing All Art Cultivating a Black Arts Ecosystem to arts organizations, MMI supported communities have places where youth can Across the interviews conducted for this The leadership and partners of MMI stressed extended learning to expand high- jam with local musicians; learn, play, and study, the theme of high art versus low art the importance of a thriving arts culture for quality out-of-school programs to reach hear music; and contribute to (and benefit manifested in a variety of ways. Historically, matters of social justice and also for youth more youth and remove barriers to youth from) the city’s important musical and mainstream organizations that center what development. In its efforts to support arts engagement and participation. This grant cultural legacy. MMI brings music instruction is considered to be high art, such as ballet, and artists in Memphis that are invested in program fostered and supported high- into neighborhoods, community centers, and classical music, and painting, have received community uplift, MMI has stressed that quality music engagement opportunities churches to remove barriers to participation meaningful sums of financial support. These this cannot be an individualistic endeavor by addressing barriers to organizational for Memphis youth and to ensure that the legacy organizations (the symphony, the for single artists or a few independent arts success and making targeted city’s cultural products remain true to its orchestra, the ballet, the art museum, the organizations. Therefore, this organization investments in program growth, planning communities. opera) have often been supported and has been intentional in its vision to build a and support, and transportation. Lessons learned from past MMI held as the standard of what is considered Black arts ecosystem, taking a communal 3. Through its community cohort grants, programming have led to innovations in its valuable, quality art. Meanwhile, art forms approach to blending the arts and MMI supported innovation spaces in current practice. Newer initiatives, such as that were historically developed by African community vitality in Memphis. The vision is collaboration with community leaders, Americans—commonly referred to as to incubate relationships and organizations the MMI Works arts apprenticeship program, organizations, and musicians. The community art—have been underfunded and that can have longevity in empowering the MMI SummerBeat creative youth strategy brought quality programs to considered low art, even as many of these communities through the arts, particularly development programs, and the Program communities and identified, elevated, art forms have served meaningful humanistic for those Memphians who have been Development Institute reflect organizational and grew existing music programs and learning, wherein staff use data and analysis purposes such as storytelling, cultural overlooked. to support new program development. memory, and resistance.

x TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI EXECUTIVE SUMMARY xi ` What is the unique artistic and cultural Commenting on this aspect of MMI’s giving Having a Dual Structure: THE CHALLENGES AND heritage of racialized groups in the practices, a grantee highlighted MMI’s Grantmaker and Programmer OPPORTUNITIES OF geographic area? Institute for Nonprofit Excellence as useful One of MMI’s advantages is that even SCALING DISRUPTIVE ` What is a critical need in the community in forging relationships that might serve as though it is a grantmaker, it also implements PHILANTHROPY that the cultural assets can be mobilized a foundation for this arts ecosystem. As this its own programs, which allows MMI to to address? Disruptive philanthropy is an accountability person stressed, there is value in sitting at apply a specific funding philosophy and What are the historical and contemporary practice informed by knowledge of historical ` the table with similarly aligned organizations to assess its effectiveness. Combined, the dynamics? trends of wealth accumulation and exclusion that invest in arts with broader community dual processes of allocating resources and that has been shaped by structures of power ` How does the arts dichotomy manifest? development outcomes in mind. Through implementing programming helps MMI (a) to that reinforce oppressive hierarchies of race, ` Who owns disruption—the organization this approach and many others, MMI has ensure its theories are informed by practical class, and gender. As more public goods or the community? forged strategic partnerships with both experience, research and data collection, and services are relegated to the private ` What is the current state of linkages established non-Black arts organizations (b) to develop and revise programs based sector, it will be increasingly important to be between and among culturally specific and historically underfunded Black on the evolving theories, and (c) to support vigilant in combating philanthropic redlining arts organizations? Between the arts arts organizations. By facilitating these organizations within the arts ecosystem and to be conscious in creating more equity organizations and the community? relationships, MMI has fostered high quality based on coherent theory and practice. This in funding. ` What are the unique strengths and needs and engaging arts education for young makes the organization more efficient, more of individual organizations? How do we people in underserved communities. responsive to community needs, and able to MMI’s promising practices provide a best support them? make strategic pivots in real time. framework for other philanthropies to adapt ` What specifically do we hope to achieve Being Invested in Community Versus to bring about true diversity, inclusion, with disruptive philanthropy? How will we Investing in Communities Using Data to Support Practice and equity in the arts. The challenges to know we achieved it? MMI has offered wraparound services not Data analysis is an embedded and essential implementing the MMI model are numerous; ` What will a thriving arts ecosystem look only for its grant recipients but also for the component in MMI’s approach. MMI staff time, resources, and staff commitment like? larger community it serves. This translates realize that evaluation is necessary for are significant, and the constrainsts of into an asset-based approach that (a) values quality improvement, for ensuring the conventional funding models can be Diversity, equity, and inclusion can be more an arts organization’s unique strengths and effectiveness of the programs, and for difficult to surmount. Nonetheless, as MMI than buzzwords. They can form the core of contributions, (b) provides assistance to administering the best organizational demonstrates, disruptive philanthropy is a a philanthropic practice that prioritizes the expand organizational capacity (in areas support possible. In a nonprofit landscape worthwhile, essential endeavor for those incubation and cultivation of community such as operational infrastructure and that is moving increasingly toward evidence- who care about real equity and social justice. organizations, as MMI’s practices show. strategic planning), and (c) simultaneously based practices, MMI prepares its grantees offers creative community programming to be competitive by providing them Disruption is not a one-size-fits-all process. References that helps to increase arts literacy in the with knowledge, skills, and tools for data Kasper, G., Ramos, H. A. J., & Walker, C. J. (2004). The specifics must be tailored to the vision, communities on MMI’s radar. While MMI’s collection. As data and evaluation become Making the case for diversity in philanthropy. mission, and aim of an organization, and to Foundation News & Commentary, 45(6), 26–35. approach has been to fund community arts standard requirements for receiving National Philanthropic Trust. (2017). A History of the communities it seeks to serve. Answers initiatives and organizations, it is first and philanthropic dollars, MMI is ahead of Modern Philanthropy. Retrieved March 18, 2017 to many key questions—and concomitant from http://historyofgiving.org foremost invested in the wellbeing of the the curve in its own practices, and in the strategies and tactics—must be derived from local community, in imagining a more vibrant services it provides to its grantees and a genuine understanding of what exists and future through forms of arts practice. partners in this area. what is possible.

xii TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI EXECUTIVE SUMMARY xiii FROM THE FOUNDER AND EXECUTIVE DIRECTOR FOSTERING EQUITABLE ARTS ORGANIZATIONS TO CREATE EQUITABLE COMMUNITIES

Student participating in MMI grantee PRIZM Ensemble’s 2017 Summer Music Camp at First Baptist on Broad Church. diverse audiences to mainstream events and but do not force collaboration. We lower MUSIC AND institutions—it’s about fostering spaces where the barriers to engagement by not requiring traditionally underserved communities feel overly burdensome applications and reporting. THE ARTS not just welcome, but at home. It is about ensuring that communities see the arts This is the work of the Memphis Music OFFER A community as existing for them and dedicated Initiative—to use investments in high- to elevating their voice and perspective. It is quality music engagement activities and POWERFUL about creating and supporting a black and organizations— with a specific focus on brown arts ecosystem, of artists and arts Memphis’s black, Latino, and traditionally OPPORTUNITY organizations, that allows black and Latino underserved communities—to drive student, communities to tell their stories beyond the youth, and community outcomes, while TO CREATE white gaze. building an equitable arts ecosystem that supports and sustains the creative class as a NEW As MMI’s work continues to evolve, we social justice and economic driver in our city. challenge ourselves to reject traditional NARRATIVES philanthropic models that don’t serve our In late 2016, MMI commissioned a study to communities well, in search of an approach explore and analyze our philosophy, practices, THAT ELEVATE that is more inclusive and asset-based. A and approach in hopes of both improving our hallmark of MMI’s work is meeting black and work and sharing our learnings with others THE CULTURAL brown arts organizations where they are engaged in creative youth development and by shedding the conventional and highly philanthropy. The results, contained in this ASSETS OF exclusive philanthropic requirements for report, offer a compelling perspective on accessing funding, supports, or even a seat both the challenges and opportunities of TRADITIONALLY at the table. We don’t define or limit an implementing MMI’s strategy of disruptive Unfortunately, traditional arts funding has organization’s potential impact because of philanthropy. UNDERSERVED prioritized exposure over engagement, and its starting point—we embrace that starting often creates an arts conversation in which point as a point of departure and deploy the We hope that you will find Toward the Future COMMUNITIES AND poor communities and communities of color resources critical to enhancing their programs, of Philanthropy as thoughtful and insightful are excluded, although they have the most to operations, strategies and sustainability. as we have, and we hope the findings spark HELP FOSTER A contribute. We don’t ask organizations that have been conversation and change within the sector. overlooked and undercapitalized to compete Darren Isom SENSE OF AGENCY, Those of us who work in these communities in a race for dollars when their starting line Founder and Executive Director recognize the very important role music has been moved backward; instead, we Memphis Music Initiative EMPOWERMENT, AND and the arts can play in driving youth and attempt to change the game and the entire community outcomes. For so many black and playing field on their behalf. We endeavor (Previous page, top) MMI Fellow Ty Boyland teaching BELONGING. brown communities, music is not only the to engage with music organizations by music production at Cloud901 at the Memphis Public soundtrack that surrounds us but also our relinquishing the normative funder/grantee Library. (Bottom left) PRIZM Ensemble member Shawn Edmunds, teaching students at White Station way of navigating and documenting our path dynamics and creating true partnerships that Middle School. (Bottom right) MMI Works youth forward. Furthermore, we know that equity honor the organization’s voice in what will interns at Levitt Shell, an open-air amphitheater located in Overton Park. in the arts is about more than attracting make them more successful. We encourage,

2 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI FOSTERING EQUITABLE ARTS ORGANIZATIONS 3 Toward the Future of Arts Philanthropy is WHAT DO DIVERSITY, divided into three sections. ` The first, Arts Philanthropy and Racialized EQUITY, AND Communities provides the context for this study and describes the key frameworks INCLUSION IN ARTS that will be used throughout. ` The second, The Memphis Music FUNDING AND Initiative Model, describes MMI programming and outlines the ways in PRACTICE LOOK LIKE? which MMI has challenged dominant modes of philanthropic giving through (1) challenging the high art/low art Over the past several years, many authors— dichotomy, (2) cultivating a Black arts ecosystem in Memphis, (3) being invested including arts practitioners, academics, in communities as opposed to merely and funders—have put forth theories and investing in them, (4) acting as both a frameworks that provided guidance but few grantmaker and a programmer, and (5) practical examples of what arts equity looks using data to support practice. MMI’s like in action. policies, practices, and methods reflect its INTRODUCTION embeddedness in—and responsiveness Since early 2014, the Memphis Music to—the communities it serves. Initiative (MMI) has engaged in a unique ` The final section, The Challenges and form of arts philanthropy that is a promising Opportunities of Scaling Disruptive DIVERSITY, approach for equity and inclusion. Using a Philanthropy, presents a set of questions variety of qualitative methods, this study to cultivate and guide disruptive practices evaluates the funding and programmatic in philanthropy. practices of MMI in the broader context EQUITY, AND This report is for persons who directly of arts funding, arts education, youth development, and community empowerment participate and have a stake in arts to discern the fundamental elements of the philanthropy. Specifically, it is aimed at those INCLUSION who are invested in making arts philanthropy model, its effectiveness, and the lessons that others who are committed to equity might more accessible, inclusive, and supportive learn. The analysis is situated in a larger of artists and organizations that have been discussion of (a) the effects of race and historically marginalized and overlooked. place on access to funding and resources, Foundation leaders and program officers, which we call philanthropic redlining; and (b) arts service organization staff, and others the sustained and good-faith commitment interested in issues of equity will benefit to combat this phenomenon through the from the information found within. practice of disruptive philanthropy. MMI Works youth tuni a guitar at Visimle Music Collage work site.

INTRODUCTION 5 SECTION 1 ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES

MMI Works youth receiving keyboard instructions at Visible Music College. HE MEANING Grantmaking is one of the most common relationship building, technical assistance, ARTS AND CULTURE GRANTMAKING T means of charitable giving. Although capacity building (including continuing BY FOUNDATIONS AND PRACTICE OF there have been seismic shifts in the training for arts leaders), collaboration, Grantmaking in the arts and culture sector demographics of the United States, innovation, and donor involvement. In is concentrated among relatively few funders, mirroring the trends of the larger PHILANTHROPY HAS these have not been mirrored in private the context of decades-long decreases philanthropic landscape. Giving by the top foundations nor in their grantmaking in public funding, especially for arts 50 foundations that fund arts and culture practices (Kasper et al., 2004). A study education, funders are also increasingly grants is summarized EVOLVED OVER TIME. below. (Foundation conducted by the Greenlining Institute encouraging nonprofit arts organizations Center, 2017). (Gonzalez-Rivera, Donnell, Briones, & to move to becoming more market-based, Philanthropy today is defined as “the Arts and culture Werblin, 2008) is instructive. They examined with a focus on tickets/subscriptions and grants share, 2012 practice of organized and systematic giving the 25 largest national independent fee-for-service as core revenue streams, to improve the quality of human life through foundations by asset size and concluded and increasing the role of the artists and the promotion of welfare and social change” that (a) while there has been a modest arts organizations in cross-sector issues. (National Philanthropic Trust, 2017). There increase over time, giving to minority are a variety of players in the philanthropic nonprofits remains notably low, and (b) such While all of the above may be efficacious Arts and culture grants by 50 largest foundations, realm, including individual donors, donor- compared to all foundations, 2012 nonprofits receive a larger number of grants for mainstream arts organizations advised funds, as well as community, in relationship to grant dollars, which means (read, “high art” organizations), it is $991 million (45.8%) $2.1 billion private, and public foundations (Foundation they are receiving smaller grants when not so for culturally based, folk arts, or Number of arts and culture grants given by 50 Center, nd). largest foundations, compared to all foundations, compared to mainstream organizations. The community-based arts organizations. 2012 study found that nationally: 12 percent of Traditionally, responsive funding in the 5,077 20,555 grants the grants sampled were given to minority- arts (i.e., cultural patronage) has focused (24.7%) “Racialized” is used as the preferred led organizations; 8 percent of grant dollars primarily on building institutions to ¬ term over others, including “minority,” were awarded to same; 2.3 percent of preserve and present arts and culture View the data tables “of color,” and “underrepresented” grants and 2.7 percent of grant dollars were based in the classical European canon. (although these terms appear in the received by African-American organizations. Place-based and collective impact arts less than 10 percent of arts organizations Of the 25 foundations sampled, 14 gave less funding initiatives have focused primarily paper when quoting or referring to receiving grants that year (Foundation than 10 percent of grants to minority-led on fostering economic and community other sources). “Racialized” connotes Center, 2017d). organizations, and 18 organizations gave development that serves dominant that the construction of racial meaning less than 10 percent of grant dollars to community interests. If the funders have is ongoing, and has particular effects same. equity-related interests, they often focus MAINSTREAM APPROACHES: according to group, time period, on the importance of arts engagement FOUR DIMENSIONS and location. Persons and groups Contemporary arts philanthropy follows the in providing racialized communities with Mainstream approaches to evaluating arts archetypal trends of the larger non-profit access to “high arts.” that are racialized tend to have a funding tend to focus on four dimensions: philanthropic landscape. Arts grantmakers modal experience of marginalization, (1) the relevance of the arts to economic engage in the three general approaches The discrepancy between mainstream discrimination, structural and material development, especially its ability to to grantmaking: (1) responsive, (2) place- and racialized organizations is reflected generate employment, tourism, and tax lack, and diminished life chances. based, and (3) collective impact. Arts in giving practice: in 2012, 80 percent revenue; (2) the ability of the arts to funders are increasingly focusing on of foundation giving in the arts went to enhance the quality of life, especially in the

8 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 9 realm of leisure; (3) the role of the arts in reproducing the nation; and (4) the social FOUNDATION ARTS AND CULTURE GRANTS, TOP 50 RECIPIENTS AND TOP 20 RACIALIZED ORGANIZATIONS, 2012 value of the arts—especially its ability to improve the moral or political climate. This The top 50 recipients of private is especially true for public funding of the arts and culture grants are arts, which tends to heavily influence the located in 22 cities in 17 states philanthropic sector. Given this perspective, (Foundation Center, 2017c). Only one organization, the Nashville the approach to equity and inclusion tends to Symphony Association, is located center on the “two M’s of diversity: morality in Tennessee. and the market” (Kasper, Ramos, & Walker, The largest 20 arts organizations 2004), and on encouraging voluntary action from racialized communities are and initiatives among foundation leaders located in 12 cities in 10 states. These organizations received (Bearman, Ramos, & Pond, 2010). As such, smaller and fewer grants, compared to the top 50 list. policy recommendations have generally Top 50 grant included five broad strategies: (1) embracing recipient View interactive map ¬ different culturally relevant experiences and View data table for top 50 recipients ¬ Largest 20 backgrounds; (2) promoting and advancing View the data for racialized racialized arts organizations ¬ organizations the careers of diverse employees; (3) Size of symbol creating an accommodating—not isolating— corresponds to relative environment for diverse staff; (4) getting size of grants received more racialized folks into the audiences of programs implemented by mainstream organizations; and (5) increasing the arts A 2015 study by the DeVos Institute of Arts These organizations are absolutely In response to the DeVos study, the participation of racialized communities. Management found that arts organizations essential to the American arts ecology. Southern Methodist University National In addition to producing remarkable in racialized communities are, in general, Center for Arts Research (NCAR) explored art, they provide access to the arts There have been several studies much less secure and far smaller than their for communities of color, bring arts the extent to which the form and function commissioned, position papers written, mainstream counterparts. According to the education programs to children who of culturally specific organizations differ and working groups formed to analyze the report: have lost access to it in their public from that of mainstream organizations, and schools, and offer training for emerging sustainability of organizations and the role assessed the implications of concentrating artists, ensuring a pipeline of talent of arts philanthropy in fostering a healthy [T]hese organizations, the funding that will continue to reflect distinctive funding in a smaller cohort of culturally arts sector. Much of the inquiry centers on community, and everyone who values perspectives and experiences that may specific organizations (Voss, Voss, Louie, a diverse, vital cultural sector must: how racialized organizations compare to not otherwise be seen in mainstream Drew, & Teyolia, 2016). Their findings were build stronger boards that lead arts or Eurocentric arts. They may also mainstream ones, and the implications for organizations of color; invest in defy expectations, correct historically numerous. diversity, equity, and inclusion. management education and effective propagated racial stereotypes, or staff leadership; prioritize great simply delight their audiences (DeVos Regarding form and function, NCAR art rather than new buildings; and Institute of Arts Management at the encourage responsible philanthropy that University of Maryland, 2015). found that culturally specific organizations promotes long-term growth and fiscal tend to predominate in disciplines that health. have smaller average budgets, including

10 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 11 community-based art, arts education, and and changing demographics. Current organization” and to addressing institutional Philanthropy Project, which was developed multidisciplinary performing arts; and tend arts grantmaking disregards large racism and structural inequities through by presidents of several large foundations segments of cultural practice, and to be underrepresented in sectors that consequently, large segments of our their educational and funding activities. including the Kellogg Foundation, The have larger budgets—including museums, society.... To follow their lead, they suggested that Rockefeller Brothers Fund, and the California opera companies, and orchestras. They grantmakers “consider root causes and Endowment. The primary aim of this 3-year also found that these organizations tended Regardless of its history or primary systems to understand historic inequities in campaign was to “exemplify diversity, philanthropic focus, every foundation to be younger in age than mainstream investing in the arts can make funding ALAANA [African, Latino/a, Asian, inclusive practice, and attention to social organizations. However, controlling for age fairness and equity core principles Arab, and Native American] artists and equality in foundation board and staff and sector, budgets and physical facilities of its grantmaking. It can do so by arts organizations” and “execute a course composition, operations, and grantmaking” intentionally prioritizing underserved (which are two indicators of security) tended communities in its philanthropy and by correction with explicit intent to structurally by focusing on three primary strategies: (1) to be equivalent between culturally specific investing substantially in community change funding behaviors and norms voluntary diversity and inclusion initiatives at and mainstream organizations. organizing and civic engagement compensating for past neglect and move the individual and field levels; (2) developing work in the arts and culture sector. By forward with equal opportunities resulting a national system of data collection, analysis, doing so, arts funders—individually Moreover, the NCAR study found that while and collectively—can make meaningful in better funded and supported ALAANA and accountability; and (3) encouraging the culturally specific organizations tend to contributions toward a more inclusive communities, artists and arts organizations.” creation, coordination, and dissemination of have performance characteristics that set and dynamic cultural sector, and a fairer, “knowledge resources.” Since the campaign’s more democratic world (Sidford, 2011). them apart from mainstream organizations— The report Creating Change through Arts, organizers knew that the philanthropic specifically less spending on marketing, less Culture, and Equitable Development, (Rose, sector’s commitment to diversity, equity, NCRP suggested that funders could move earnings from subscribers and members, Daniel, and Liu, 2017) offered six strategies and inclusion was “lackluster,” they were toward supporting arts equity using a variety lower trustee giving, and higher support from for using policy to support arts, culture, satisfied with raising awareness, expanding of strategies including: (a) working harder public sources—this was more a reflection of and equitable community development the representation of racialized folk in to ensure that funds for preserving the their comparative age than of their weakness in racialized communities: (1) map artistic mainstream organizations, increasing the Western European canon directly benefit or unsustainability. In other words, their cultural assets with a focus on endogenous engagement with racialized communities in underserved communities; (b) recognizing distinctiveness can be attributed to their cultural resources; (2) evaluate economic mission statements and practical work, and and supporting work in canons outside the newer organizational form. Thus, the NCAR conditions, including current investments in expanding the field’s capacity for change. European tradition; (c) nurturing new works, study is extremely important because it takes public works, arts, and culture; (3) identify In other words, the overwhelming emphasis including those focused on social change; culturally specific organizations on their own barriers to resources and restructure was on educating mainstream organizations, (d) expanding arts education for those with terms, and disproves the contention that they processes to engender access; (4) work with encouraging them to track and measure the least access to it; and (e) integrating are comparatively unstable. artists, designers, young people, and culture diversity, and holding them accountable in artists and the arts into community bearers to engage the community and doing so (Bearman et al., 2010). planning, especially processes that engage In 2011, the National Committee for inform equity-driven processes; (5) expand underserved communities. Responsive Philanthropy (NCRP) challenged equity-focused arts and culture investments These mainstream analyses of equity in arts funders to embrace equity as a part of their across public agencies; and (6) ensure that philanthropy, and solutions proposed, fall Grantmakers in the Arts released a revised missions: governance and staffing are representative short. They fail to consider key structural public statement (Racial Equity in Arts of the populations served. factors, which are discussed in the following Philanthropy: Statement of Purpose and Each year, foundations award about $2.3 section. billion to the arts, but the distribution Recommendations for Action, 2017) on its Another effort focused on diversity, of these funds does not reflect the commitment to making “racial equity in country’s evolving cultural landscape equity, and inclusion was the Diversity in arts philanthropy a primary focus of the

12 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 13 ASSESSING THE PROBLEMS arts organizations” receive the lion’s share given that funding from the NEA, as has been especially important. For the INHERENT IN ARTS FUNDING of funding, and this is justified because well as state arts agencies, is perennially mainstream society, art can be a powerful For racialized communities, both the public they satisfy extant evaluation criteria. Thus, under threat. Moreover, the dedication of way to keep a polity together. However, for and private mainstream approach to arts “the sector’s definition of what legitimately mainstream philanthropic foundations to those whose citizenship and belonging has funding generally, and diversity, equity, constitutes ‘the arts’ doesn’t reflect America’s diversity tends to be mercurial, and times been ambivalent or dubious at best, art has and inclusion specifically, are insufficient. evolving demographic” (Horwitz, 2016). of crisis, such as economic downturn and been the means to not only challenge their A multitude of structural and institutional the concomitant reduction in resources, foreclosure from the state, but also to create criteria impact the ability of racialized arts Racialized organizations are more rationalize a turn away from issues of their own counter-publics (Dawson, 1994). In organizations to attract funding, especially dependent on public funds than mainstream diversity (Bearman et al., 2010). effect, the arts are a form of world-making. transformative funds. These include (a) what organizations. Indeed, funding from the Because Black art is often an expression is considered to be art; (b) the perceived National Endowment for the Arts (NEA) has For Black communities in particular, art is of dissent and the struggle for liberation, purpose of the arts in relationship to been integral to the ability of “community” not meant to be a life-enhancing form of it is more likely to challenge or disrupt the communities, society, and the nation; (c) or “grassroots” organizations—often leisure; art, in many ways, is an expression moral and political climate than to “improve” the requirements put in place to receive coded language for racialized or rural of life itself. Art necessarily serves the it. Furthermore, Black arts organizations funding; (d) how, and whether, diversity, organizations—to attract private dollars: function of combating racial discrimination, do not want only representation in equity, and inclusion should impact arts “Over the last five decades, the NEA nurtured shaping a sense of identity and community mainstream organizations and increased ecosystems, funding, and programming; and grassroots organizations that existed off that fortifies against the gross inequities arts participation. They also seek (a) to (e) the valuing of arts organizations based the radar of private donors, while bringing of everyday Black existence, and rejecting develop audiences for their endogenous on subjective criteria including size, budget, prestige and attention that has helped them mainstream values and depictions that arts programming; (b) to increase the composition, mission, and impact. raise their profiles” (Gilbert, 2017). More denigrate Black life. In other words, art tends number of racialized professional artists— often than not, public grants put racialized to be inextricable from social justice. Black in other words, those that are able to With respect to philanthropic and nonprofit organizations on the radar of philanthropic music, because of its originality, ingenuity, make a living as an artist; (c) to build the foundations, “large, conservative, Eurocentric organizations. This is particularly problematic, and intimate connection with Black reality, capacities of racialized organizations; and

PUBLIC FUNDING FOR THE ARTS, 2012 NATIONAL ENDOWMENT FOR THE ARTS STATE AGENCIES (COMBINED) TN COMMISSION ON THE ARTS TCA - SHELBY COUNTY

Over the past several decades, public funding for the arts has steadily declined at both $116.8 $1.16 the federal and state levels. This has a $260.1 $5.67 significant impact on racialized organizations, which tend to be more MILLION MILLION MILLION MILLION reliant on public funding. The 2012 funding levels presented here are lower than the decade before by 10 to 30 percent. View the data table ¬ Ƅ

14 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 15 (d) to secure support for racialized artists’ communities where they live and work, biggest obstacle....There are certain Philanthropic redlining is a set of funding entrepreneurship (MeWe306.com, n.d.). are being systematically denied access to circles that we just don’t feel we can practices in which an organization’s size, get into, we don’t know exactly why, resources and cultural legitimation” (Horwitz, or what it is… so it’s been kind of a racial or ethnic constitution, demographic Critiques of place-based arts funding 2016). The outcome has been an entrenched struggle the past few years. served, artistic designation (e.g., high art echo this schism, especially as it relates practice of philanthropic redlining insofar or community art), and/or geographic to the concept of creative placemaking— as the “grassroots,” “community,” or “low- Chronic lack of resources and barriers location results in: (a) exclusion from funding which often assumes that place is a blank art” perspectives of racialized organizations to funding access are not uncommon altogether, (b) grants that are substantially slate to be written upon—versus creative undermine their contention for funding from for racialized organizations, and tend to lower than comparable organizations, and/ placekeeping—which assumes that each private foundations, or circumscribe Black make them much more vulnerable than or (c) forms of funding that contravene place has an extant culture and cultural possibilities in the arts, e.g., there is funding mainstream arts organizations. Racialized capacity building. resources. for Gospel but not for opera, or Blues but not organizations have been historically orchestra. What is more, because racialized excluded from circles of wealth, and this Such practices also preclude the funding At a moment when cities are rapidly organizations tend to be more “creative and is acutely reflected in Memphis. This has of organizations that may need substantial being transformed, I worry that the people proposing and implementing entrepreneurial” as opposed to “traditional” real effects on how, and if, they exist as development and/or wraparound policies are not thinking about spatial or “classical,” they struggle to attract long- organizations. services that would ensure their viability. justice. That the speech of the poor and term investments (MeWe306.com, n.d.). A particularly pernicious reality is that of communities of color is not heard is the very organizations that are funded in part because of a devaluation of an 1 NAMING THE PROBLEM: expressive aesthetic… which does not Nicole Branch , executive director of specifically to reduce inequity continue to jibe with the entitlement of the white an organization that provides music PHILANTHROPIC REDLINING reproduce its logics and effects through spatial imaginary that dominates the opportunities and mentoring to young Philanthropic redlining is an analogy to forms of philanthropic redlining. Thus, understanding of the public sphere (Bedoya, 2014). African American women, argued that one the historical practice of redlining in which according to Paul Dirks, an MMI leader, of the biggest barriers faced by racialized banks and other institutions would deny philanthropic redlining is “a systemic process In racialized communities, art and creative organizations is fundraising, given the access and services—including home loans, of gerrymandering funds so that certain expression “embodies its essence and is overemphasis on and preference for insurance, business ventures, and health people don’t have access to them, or the crucial to its well-being. Through making art... mainstream arts organizations. Because care—to particular neighborhoods based on creation of barriers to limit individuals from communities preserve, invent, and assert their of this challenge, the position of her their racial, ethnic, and class constitution. having access to funds.” The effects of this identities; transmit heritage; and comment on organization, like so many other community- In the early 1930s, the Home Owners’ Loan lack of access accumulate over time. their existence (Jackson, 2008). based cultural organizations, is precarious, Corporation (HOLC) began creating color- a result of the lack of resources and lack of coded maps to categorize neighborhoods Funding criteria such as 501(c)(3) status, Disparities in the very understanding of the access to funding networks. according to the level of risk for investment, legacy status, size and composition of a purpose of arts, and the funding criteria with redlines demarcating areas considered governing board, and type of programming Right now because of certain barriers risky. The maps were used by private and further philanthropic redlining by derived from such understandings, result [to] grant opportunities or other things from the reality that, “Large, mainstream arts that have been stumbling blocks for public entities for years afterward to direct intentionally or unintentionally excluding institutions, founded to serve the public good fundraising that affects us a lot in investment and services in discriminatory groups that have been historically retaining full-time choir directors, full- and assigned non-profit status to do so, have ways. The effect of this capital disinvestment marginalized. As Branch observed, the time executive team. That’s been our come to resemble exclusive country clubs. was low property values, entrenched racial newness and size of her organization, Meanwhile, outside their walls, a dynamic 1 Throughout this report, interviewees are segregation, and the concentration of and its lack of 501(c)(3) status, precluded new generation of artists, and the diverse referred to by pseudonyms. A descriptive list of poverty. access to certain funding pools. While interviewees is provided in Appendix A. there was a pressing need for a full-time

16 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 17 staff and executive team to implement more arts practice but rather to use “diversity” organizations, or practitioners that do not their organizational capacity. Ultimately, programming, she understood that barriers to buttress mainstream visions of inclusion. meet certain privileged criteria, even if their it privileges group-autonomy. In the final to grant opportunities presented stumbling In such initiatives, philanthropic dollars inability to meet said criteria is a result of analysis, disruptive philanthropy is a funding blocks for fundraising. continue to provide strong and rich support historical neglect from both the public and practice that intentionally reveals, critiques, for mainstream organizations while only private sector. Disruptive philanthropy: challenges, and seeks to upend philanthropic The lack of access to resources was a superficially serving racialized populations. ` starts with the understanding that redlining. common concern. Dirks stated, “[E]ssentially institutional and structural racism shapes we have funders who at this moment are like, Philanthropic redlining is an institutionalized (arts) funding and produces inequities in Disruptive Diversity, Equity, and Inclusion ‘Hey, I could only fund organizations who feature of grantmaking, which disadvantages resources and opportunities; Diversity, equity, and inclusion in the service have a least $1 million-a-year budgets.’ In arts organizations that are deeply embedded ` assesses how resource and opportunity of disruptive philanthropy includes several order for an organization to have $1 million-a- in disinvested, impoverished, and racialized inequities manifest (e.g., transportation components. First, it entails the recognition year budget, in most instances they probably communities that lack services, resources, barriers, technology disparities, that enduring racialized governing policies, have existed for at least 10 years, and they’ve and other types of support. Moreover, professionalization gaps, lack of institutional practices, and societal norms, gotten support in some way for at least 10 because these organizations are underfunded access to professional and funding both conscious and unconscious, have networks, absence of key organizational years from a multitude of sources.” and may operate with values that diverge resulted in unequal access to funding, components such as a board, lack of from the mainstream, they are excluded services, and other resources for historically remuneration for full time staff); Kenya Washington, executive director of an from considerations of best practices, from marginalized organizations and the includes sensitivity to the particular arts organization located in South Memphis, participating in important conversations ` communities they serve. Second, it maintains history and development, mission and emphasized that the small dollar amounts around funding, and from important a commitment to building opportunities for scope of each organization, and to the of the grants received from funders led to a networks of funders and peer organizations. all populations and cultures to contribute communities they serve; their art forms and to participate in arts small operational budget, which forced her Thus, philanthropic redlining is a practice ` eschews “one size fits all” approaches; programming, because all contributions are organization to focus most of its attention on that overwhelmingly limits opportunities and essential to a rich and vibrant understanding arts education. Additionally, her organization possibilities for historically underrepresented ` shapes funding practices to eradicate the barriers that result from entrenched of humanity. Third, it harnesses the unique was focused on creating programming that communities. While many funders espouse forms of discrimination, including racism, tools of artists and arts organizations could generate immediate revenue instead a commitment to racial equity, and may geographic location, and size; from a multitude of backgrounds to the of focusing on efforts that promote long- have initiatives or staff members dedicated creates tools to evaluate effectiveness identification, critique, and struggle against term sustainability. The dearth of grants to issues of diversity, the choices they make ` of models implemented, which allows inequality, discrimination, and injustice. available to small minority-led organizations in grantmaking, and the parameters they responsiveness to extant needs, pivots in Finally, it requires the explicit action of for capacity and strategy building presented set for the disbursement of funds, do little real time, and tailored approaches; and public and private funders to change Washington with formidable challenges. to challenge the gross inequities in funding ` measures impact. behaviors, norms, ideas, and practices allocation. that reproduce social inequalities that Yet another form of philanthropic redlining is This practice of aware, informed, and exacerbate the conditions of racialized and the funding of initiatives focused on getting IDENTIFYING A NEW MODEL: conscious grantmaking disrupts the underrepresented communities. racialized populations “engaged” as audience DISRUPTIVE PHILANTHROPY normative standards of giving and models a members of mainstream arts organizations Those who are deeply committed to new way of understanding philanthropy with while simultaneously neglecting the Disruptive philanthropy is a practice of diversity, equity, and inclusion in the service a racial equity lens. It is an anti-paternalistic support and development of endogenous conscious giving—that is, a practice informed of disruptive philanthropy must give up all model of resource allocation that supports ones. Stated differently, the effort is not to by an awareness of how traditional strategies forms of privilege that reinforce inequality, communities and organizations in expanding provide longevity for racialized forms of of philanthropy exclude communities, oppression, exclusion, and domination.

18 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 19 THREE EXAMPLES OF MMI’S TRANSFORMATIVE PRACTICE

For MMI, disruptive Support and Consultation Transformative Funding philanthropy means If an organization has demonstrated a Providing transformative funds—a sum Key Definitions: Diversity, Equity, Inclusion commitment to arts education and social that allows an organization to develop justice but doesn’t have 501(c)(3) status, creating the conditions sustainable infrastructure—is fundamental to Diversity: The representation and disruptive philanthropy means providing the for a grantee organization disruptive philanthropy. What is considered incorporation of individual differences, resources to help said organization secure including language, culture, and life to thrive by helping an interim fiscal sponsor, or assisting it to a transformative sum will be different them build a sustainable establish a board of directors, file paperwork for each organization. As Washington experiences; and social differences, such to secure a 501(c)(3) status, and supporting explained, “[MMI’s] funding has been as race, ethnicity, class, gender and sexual infrastructure. This strategic planning. Emphasizing this point, phenomenal. I was able to get instruments, identity, sexual orientation, country of origin, requires tangible Lisa Cole, MMI leadership team member, that was another thing, we didn’t have and ability status, as well as cultural, political, resources, including noted that MMI provides, “intensive and instruments for students… I suddenly had religious or other affiliations in all facets of specific technical assistance that is really enough instruments for everybody, but an organization’s composition, policy, and support services and tailored to give nonprofits as much support that was one worry I didn’t have. When it practice. as needed to be responsible, responsive, consultation, relationship comes to music, I spend $1000, $1200 out and increase their scalability to serve young of my pocket in a heartbeat for music. I Equity: The eradication of barriers and the building and access to people in the music engagement realm.” professional networks, don’t have to do that now… It’s like I have creation of opportunities for historically a backing now, it’s like I have a foundation underrepresented populations to participate along with funding. Relationships and Networks now. Whereas I was just winging it before, in organizations and on boards; to have Creating real and meaningful relationships because it was all on me. I have somebody equal access to funding and resources; with grantee organizations based on their backing me now and I am able to bring in and to participate in quality and culturally needs and visions counters the norms of one of your best violinists from some other relevant programming. Equity also requires philanthropic giving. Nicole Branch reflected on how MMI functioned as more than just part of the country to give the children a a level of cultural competency, or awareness a funder. “I feel like with MMI we have a workshop. I am able to bring in an African and sensitivity of one’s own cultural location; partnership,” Branch stated. “They go so American string player because you don’t the recognition of cultural differences and much further than just a check. I mean, see a lot of them, but I am able to show subject locations, and attitudes toward to me the check is last on the list. It’s the these kids there are other African American them; the appreciation of and respect experiences, the connectivity, the training, string players… I had three interns that for different cultural practices, norms, the teaching that they are giving us that they sent to help me. That was a big help, values, and worldviews; and empathy and excites me more than the check does.” because all you had to do was tell the awareness in cross-cultural interactions. She found that the wraparound services interns what you needed, and I could be Cultural self-determination is a crucial MMI provided were so tailored to the dimension of equity. organization’s need that she “[felt] selfishly in two places at one time. It was like extra like this [MMI] was just created for our arms, that was a big part of the success of group.” These services included providing my camp this summer.” Inclusion: The conscious, intentional, and a lawyer to help secure a 501(c)(3) status, sustained engagement with diversity in an providing the supports for the organization effort to increase awareness, knowledge, to hire some full time staff to solidify daily understanding, and ultimately opportunities operations and organizational stability, for populations that have historically been Participants reflecting during the In-School Music helping them to build in assessment marginalized and excluded. Engagement Fellowship Professional Development protocols to measure their success and session, spring 2017. identify areas where they might want to improve.

20 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI ARTS PHILANTHROPY AND RACIALIZED COMMUNITIES 21 SECTION 2 THE MEMPHIS MUSIC INITIATIVE MODEL

MMI grantee PRIZM Ensemble’s classical instrument instruction session at White Station Middle School. MMI MISSION, VISION AND CORE VALUES

Mission Current Initiatives (as of June 2017) MMI is a community initiated and developed MMI’s current initiatives fall in three areas grantmaking initiative to use high-quality described below. FOUNDED IN 2014, MMI IS A music engagement to drive student, youth, ` Direct programs to provide high quality and community outcomes. engagement in the arts. The MMI Music Fellows work directly with students, GROWING ORGANIZATION WITH A Vision parents, school and city leadership, Memphis invests in its youth, its and nonprofit professionals to support STAFF OF FIFTEEN (AS OF MAY communities, and its musical legacy by school-based education for youth. MMI broadening and strengthening existing Works program provides internships, music engagement offerings in and out of externships, and apprenticeships at 2017). A MAJORITY OF MMI’S schools and supporting youth-centered, music venues across the city and community-based music spaces. supplements that hands-on experience LEADERSHIP POSITIONS ARE STAFFED with a professional development Core Values curriculum. Impact. Music and the Arts are essential BY ARTISTS AND PEOPLE OF COLOR elements for social impact. At MMI, we ` Indirect programs to expand quality . commit to promoting music and arts of and access to out-of-school time engagement as a tool for communities to programs. The Program Development make relevant, local change. Institute bolsters existing music Voice. At MMI, we commit to honoring the engagement programs, supporting the quality, refinement, and measurement MMI uses the arts, specifically music, to 2. Insofar as MMI serves primarily Black and voices of the communities that we serve. We believe that community members are of programs. The MMI SummerBeat address issues of access and participation, Latino students—many of whom have uniquely positioned to offer solutions to program provides support to a variety relationship building, and equity in a had little exposure to real instruments— the problems that they face. This means of providers of music engagement bidirectional and sustained way. Music exposure to musicians who look like creating spaces, processes, and celebrations programs, from churches to small organizations, during the summertime, education and programming become tools them or who, for instance, play violin, that encourage every level of partnership to impact the work in our communities. to ensure that youth have meaningful, for youth development and community clarinet, bass, or trumpet, significantly Equity. At MMI, our investments are positive music-related activities during engagement as opposed to products or impacts perceptions of what is possible. designed to use music and arts engagement outside-of-school time. SummerBeat also provides MMI with an opportunity commodities imposed upon—or inserted to create equitable access to opportunities 3. Students are introduced to a multitude and experiences, particularly in historically to engage with organizations that have into—the community. of life and developmental skills related to underserved Memphis communities. smaller music programs, like churches and community centers, to ensure music engagement. Change. Meaningful change requires MMI has incorporated several types of music discomfort. At MMI, we challenge ourselves that there are music engagement 4. A variety of arts practitioners throughout opportunities embedded in a wide engagement, including band, orchestra, and our partners to engage in difficult Memphis are engaged, bringing a diverse conversations about equity and access for geographic and cultural spectrum across choir, and hip-hop production. This is Black & Latino communities in Memphis arts the city. wealth of knowledge and skills. important for several reasons: communities. ` Indirect programs to expand capacity of arts organizations through its 1. Memphis is a city that has a strong Such diversity allows responsiveness to Impact Statement Institute for Nonprofit Excellence (INE). musical legacy. Therefore, a variety of the interests of youth, schools, and the Memphis cultivates a thriving arts and The INE focuses on organizational genres of music should be represented in culture ecosystem that enhances the development, including leadership community at large. quality of life of residents, provides critical music programming. competencies,sustainability approaches, developmental opportunities for youth, and strategy development, and governance ensures the growth and vibrancy of the city. practices among Memphis arts organizations.

24 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 25 EMPOWERING YOUTH AND intersect with the things that we popularly MEMPHIS RACIAL DEMOGRAPHICS AND MMI GRANTEE SITES BY ZIP CODE FAMILIES THROUGH MUSIC think make black folks black” (Pop South, 2014). Today, “Memphis occupies a unique MMI operates within the unique context of status as a distribution center in the global Memphis and Shelby County, Tennessee, economy, but the city continues to struggle which has a profound impact on the mission, with social and economic inequalities as well vision, and philosophy of the organization. as its collective identity” (Rushing, 2009). The history and context both shape and inform MMI’s work. The confluence of Memphis is a majority-minority city. context and approach are described and Both its adult and youth populations are explored below. overwhelmingly Black: 65 percent of all Memphians and 71 percent of children Addressing Race, Culture, and are African American. Despite these Socioeconomics in Memphis, TN demographics, the city’s power relations Memphis is known for its innovation and are reminiscent of the Old South—a time creative cultural capital. However, it does not and space in which white rule ensured the ¬ fit neatly into an easily identifiable regional View interactive map economic exploitation, social subordination, category. As a city in the mid-South that political disempowerment, cultural is historically understood as the capital of relegation, and second-class citizenship of the Mississippi Delta, it is neither the deep its Black inhabitants. One of the city’s great South nor the urban North. As such, the MEMPHIS HOUSEHOLD INCOME AND MMI GRANTEE SITES BY ZIP CODE paradoxes is that “Black urban demographic city’s unique positioning in the historical and dominance and middle class status do not economic landscape means that it is not often translate into broadly useful public your typical southern city. political power.” Memphis is reflective of a

cohort of “Soul Cities” that are characterized Memphis occupies a peculiar historical by “expansive and rich white canopies with identity; it is perhaps best known for its wider, poorer black bottoms” (Robinson, iconic racial history that informs the city’s 2014). identity in a global context. Particularly noteworthy are the activism of the The current socioeconomic challenges renowned anti-lynching activist Ida B. Wells, faced by Memphians are informed by the and Dr. Martin Luther King, Jr.’s support confluence of its negative racial history, its of the sanitation strike and subsequent ambivalent relationship to Black cultural assassination in 1968. According to Zandria capital, and the city’s labor market. Most Robinson, “Memphis is a place where you relevant to this study is the systematic can examine snippets of ‘old’ and ‘new’ neglect of Black residents that constitutes South as they collide with one another in the political economy of Memphis. View interactive map ¬ urban space. It’s where the things that we Trends in educational policies, housing, popularly think make southerners southern

26 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 27 and employment in Memphis reveal how According to Rushing (2009), “The city’s MEMPHIS K-12 SCHOOLS AND MMI GRANTEE SITES View the interactive map Ħ opportunity in this city—or lack thereof, in high level of poverty and low level of the case of Black folks—continues to be educational attainment are deeply rooted plagued by ghosts of the city’s past. in the city and regional economic structure, MMI Grantees The deep racial and economic divisions of as well as historic patterns of rural-urban Memphis Schools K - 12 the city are significantly reflected in the migration and ties to agricultural and Elementary city’s schools. Pohlmann (2010) points to industrial development.” Middle the racial implications of the redistricting of High Shelby County Schools; the hodgepodge MMI is critically aware of how historical Private nature of the district, which is comprised trends of racial discrimination have come Median Household Income of various charter organizations and ever- to bear on wealth accumulation in the city, Less than $20,000 changing educational governing entities, on arts giving, and on youth access to and that has the most negative impact on quality arts education. The organization’s $20,001 - 35,000 Black and marginalized students; and the grantmaking reacts, responds, and seeks $35,001 - 60,000 poor academic performance of Memphis/ remedy to the gross maldistribution of $60,001 - 90,000

Shelby County Schools. One example of the Memphis’s abundant resources. $90,001 - 175,000 deeply troubled nature of these schools is that in 2016 Shelby County had an average Using Community Cultural Assets to composite ACT score of 16.8, with 7 percent Address Community Needs of these students being college ready. This MMI uses existing cultural assets to address is in contrast to Knoxville County Schools, the pressing needs. In its work from 2014- the highest performing district in the state, 2016, it used four primary strategies to which has an average composite ACT score encourage youth success: of 20.5 with 24 percent of its students being college ready (Boehnke, 2016). 1. MMI provided in-school programming to sustain existing music education and Another indicator of the racial and economic expand instruction through partnerships CHALLENGES TO YOUTH SUCCESS divisions that plague the city is the shutting with local musicians. MMI worked directly Despite Memphis’ strong cultural assets, many barriers undermine youth success: down of Memphis public housing as part with students, parents, school and city ` Racial and socioeconomic segregation continues in Shelby County, with Black families, of new strategies for city planning and leadership, nonprofit professionals, and particularly those that have a low income, less likely to live near new expanding job development. It is primarily low-income musicians to support and strengthen opportunities in outlying areas. Black families that are being displaced in existing in-school music education. ` 40 percent of Memphis youth live below the poverty line, which is nearly double the this process. Moreover, the “selling [of] 2. Through its strategic growth grants national rate. Memphis” by city officials “offering typically to arts organizations, MMI supported ` Neighborhoods with high poverty rates tend to suffer from under-performing schools. southern industrial recruitment incentives, extended learning to expand high-quality marketing cheap land and natural resources, ` More than 26 percent of youth in many of Memphis’ most underserved neighborhoods out-of-school programs to reach more don’t graduate from high school. (Urban Child Institute, 2013) and maintaining a low-wage labor market, youth and remove barriers to youth have generated and reproduced inequality.” engagement and participation. This grant

28 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 29 THE VALUE OF ARTS EDUCATION program fostered and supported high- and cultural legacy. MMI brought music Arts advocates have long extolled the benefits of arts education for children. According to quality music-engagement opportunities instruction into neighborhoods, community research, arts education prepares students for school success by by addressing barriers to organizational centers, and churches to remove barriers ` instilling motivation to learn and substantively engage with the curriculum. success and making targeted to participation for Memphis youth and ` improving performance in language art and literacy more broadly. investments in program growth, planning to ensure that the city’s cultural products and support, and transportation. remain true to its communities. ` increasing math performance. ` cultivating and encouraging critical thinking skills. 3. Through its community cohort grants, Combined, these strategies offer ` strengthening student relationships with school culture. MMI supported innovation spaces in a comprehensive approach to arts Research also demonstrates that arts education prepares students for success in work and collaboration with community leaders, engagement and arts education that puts life, with a focus on so-called 21st century skills including promoting creativity, developing organizations, and musicians. The into practice the organization’s theory of problem solving skills, promoting cooperation and communication, building leadership potential, strategy both brought quality programs change. By investing in, supporting, and encouraging persistence and patience, instilling a sense of community responsibility and delayed to communities and identified, elevated, building the capacity of schools, individual gratification, and facilitating cultural sensitivity, understanding, and appreciation. Lastly, research and grew existing music programs and musicians, youth and community arts indicates that arts education gives students an academic advantage (ArtsEdSearch, n.d.; Arts activities that were already happening in organizations and their leadership, MMI will Education Partnership, 2013). those communities. ultimately impact youth and families, schools and school districts, and the community as a The key issue is that not all students have equal access to arts education, and those with access whole. do not always receive high quality arts education because of large class size, or a lack of breadth, 4. Through its Institute for Nonprofit depth, and scope within the students’ arts experience. If we believe in the benefits of arts Excellence (INE), MMI focused Engaging in Arts-based education, then it makes sense to ensure that youth, students, and communities, especially those on executive-level leadership and Youth Development in underserved areas, have access to quality arts education. organizational development within MMI’s specific focus on youth development community arts organizations. Many of through the arts is an attempt to redress these organizations had not received the racial and socioeconomic ills of the past substantive capacity investments through deliberate investment in the city’s to position the organizations for future. Research shows that arts-based sustainability or growth. MMI’s programs can help youth to develop the investment of funding and consultative skills, attitudes, and behaviors needed to support sought to ensure these overcome these barriers and succeed in organizations that primarily serve school and life. Yet, there is an equity gap Black and brown children would be in between the availability of high-quality operation for years to come. arts education for students in schools

in areas with high poverty. In Tennessee Through these approaches, MMI sought to ensure that each of Memphis’ many communities had places where youth could jam with local musicians; learn, play, (Following page) MMI grantee Harmonic and hear music; and contribute to (and South Strings Orchestra student recital performance. HSSO provides music benefit from) the city’s important musical education to youth regardless of skill level.

30 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 31 public schools, access to music instruction promotes positive outcomes for young is below the national average and access people by providing opportunities, fostering to arts integration is below both national positive relationships, and furnishing the and regional averages (South Arts, 2014); support needed to build on their leadership less than 5 percent of Memphis youth have strengths (Youth.gov, n.d.). All of the access to after-school music programming strengths of arts education correlate to the compared to 15-20 percent in similar cities research and evidence-based best practices (MMI, 2015). related to youth development.

Youth development is one of MMI’s key In positive youth development, practitioners objectives, in part to address the lack of seek development or improvement of opportunities for Memphis youth. Paul Dirks knowledge, attitudes, abilities, or behaviors summarized the need: in several key outcome areas: youth self- esteem and self-efficacy, youth personal What does it mean for there to be a and social development, strong family whole city that just hasn’t looked at young people as valuable enough to interaction, enduring and respectful invest in them? Very specifically, young relationships with adults, investment in people who happen to be Black, and schooling, positive interpersonal skills, happen to be just people of color sensitivity to community needs and issues, because as we know, historically, Shelby County doesn’t have an issue creating productive and responsible decision making, opportunities, because if you look at academic excellence, and preparation for municipalities for example, you have careers and the job market. less than five or so municipalities and those are well-funded municipalities who create opportunities, and when In both its in-school and out-of-school there is any opportunity for individuals programming, MMI creates positive from various socioeconomic classes to developmental settings in which youth interact with each other via physical location, there’s definitely a white-flight experience physical and psychological narrative. safety, developmentally appropriate structure, supportive relationships, Positive youth development is defined as opportunities to belong, positive social an intentional, prosocial approach that norms, tools to build self-esteem, and engages youth within their communities, opportunities for skills building. schools, organizations, peer groups, and families in a manner that is productive and constructive; recognizes, utilizes, and (Top left) MMI Works intern gains experience as a production apprentice at Levitt Shell, summer 2016. enhances young people’s strengths; and (Top right) MMI Summer Beat grantee Memphis Jazz Workshop performance. (Bottom) Stax Music Academy student percussions performance at the Soulsville USA Festival, fall 2016. Both organizations received grants and support from MMI.

32 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 33

INVESTED IN COMMUNITY: AN INTERVIEW WITH FOUNDER AND EXECUTIVE DIRECTOR DARREN ISOM

The Memphis Music both public and private arts philanthropy. arts offer us a sense of joy, beauty, and and organizations that focus on Isom commented on this inequity: purpose in a world that is, more often serving the Black community. The Initiative works creatively than not, joyless, ugly, and chaotic. work, our work, is about creating an with communities on their What’s unique about Memphis, is Thinking musically and artistically offers ecosystem of highly functioning and own ground, on their own that while you have extreme levels us a sense of self-empowerment and high-quality Black arts organizations of poverty here, it’s also a city with agency; we don’t just engage in music and organizations that serve the black issues, through cultural pockets and communities of extreme and the arts, we embody them and community who understand the value, practice. MMI’s deeply wealth. Unlike the poverty, the excel at them. They allow us to tell our importance, and critical nature of rooted approach reflects extreme wealth is an anomaly for the story and create our own narrative. their work—organizations that look to region—Memphis is one of a limited This said, when we invest in music, arts, celebrate their communities and who the principles of community number of Southern cities with large, and creative expression for black and see our cultural, artistic, and musical cultural development, such well-endowed private and corporate brown youth and communities, we do attributes and products as more than as equity, social justice, foundations. so with eye on equity and the goal of enough. empowering these communities with self-determination, cultural The work becomes engaging with powerful narratives that serve as tools There is a need, from a Black arts democracy, and collaborative those foundations in a way that ensures for success. perspective, to model what best cultural production. that their giving practices don’t mirror practices look like and to offer a or recreate the inequitable systems Another example: Research shows that narrative that counters the less they are products of—the work is to music engagement and music-based equitable one that we’re living under, a Equity, or the lack thereof in Memphis, gives offer a philanthropic approach that education foster academic and positive need for a narrative that demonstrates rise to MMI’s work. Darren Isom, MMI founder elevates and prioritizes communities youth development. Given that, Isom asks, what a Black arts ecosystem should and executive director, noted the historical and organizations that have to date “Why don’t we have musical programs at look like in a 65 percent Black city. factors that continue to affect Black been left out of the fold. summer school? Or, for the kids who are What does it look like to have an Memphians: in juvenile justice? Seems to me it’s even ecosystem of Black organizations? In order to support cultural democracy more important [in those settings].” He What does it look like to have a Memphis is a majority Black city with and self-determination—equity in the notes, however, that often the response from community of Black leaders? What a Black population that is significantly transmission and implementation of others is, “Those kids don’t deserve it.” does it look like to have a community of underrepresented and unengaged and aspirations, ideas, values—one must Boards that are majority Black? These more often than not erased from the acknowledge (a) that some groups in MMI’s disruptive philanthropy counters the are all things that don’t exist now in city’s political and economic arenas. society have greater access to resources and narrative that some people deserve and Memphis. Two years ago, an economic study of political processes than do others, and (b) others don’t, or that some arts and arts the city revealed that of the millions that as a consequence, these groups also organizations are more meritorious than But to do this, you have to first believe of dollars spent annually at private have greater power to construct dominant others. It intentionally funds organizations in the communities you’re working businesses here in Memphis, a mere value system that often precludes and and programs that support a wider range with—which isn’t always the case. You 0.08 percent of those dollars went to oppresses other groups. MMI understands of artistic expression, have a wider variety have to believe that what you’re doing Black-owned businesses, this is in a 65 both and adds that one must also be of participants, and that do not stigmatize is important—urgent even, and drives percent Black city. I remember reading invested in community—listening deeply, endogenous art forms. Speaking to this critical outcomes. Finally, you have to the study results in complete confusion. uncovering community values, caring about point, Isom offered that irrespective of appreciate that although work is hard How could a city so steeped in Jim the wellbeing of the local community, and historical trends in what has been valued and takes time, it’s important work— Crow and segregation, systems that engaging in cultural production that can and not valued in the mainstream art world, work worth fighting for. forced the Black community to rely on improve contemporary reality. For example, Black artistry has been about survival. MMI itself for support, escape that era with Isom explained how understanding Black is interested in a Black arts ecosystem to such a limited Black infrastructure? And values related to music leads to a different support efforts to eradicate oppression; MMI is intentional in being invested in herein lies the dilemma that is Memphis; view of arts engagement: therefore, it intentionally evades traditional community, taking a communal approach to it’s a majority Black city that has made arts binaries because they do not reflect the blending the arts and community uplift in a business of Black exclusion. Within the Black community and organization’s core mission. He noted: Memphis. communities of color, music and Data from a variety of sources indicate that the arts are more than mere cultural What’s distinctly missing here in the Black arts sector is under-resourced distractions; they are a way of Memphis is an arts ecosystem, although there is a significant amount of navigating the world. Music and the particularly for Black arts organizations

34 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 35 THE TRANSFORMATIVE support programming. This section details historically developed by African American for single artists or a few independent arts PRACTICE: DISRUPTIVE MMI’s approach. communities have been underfunded and organizations. Therefore, MMI is intentional PHILANTHROPY deemed to be low art, even as many of these in its vision to build a Black arts ecosystem, Challenging the Arts Dichotomy art forms have served meaningful humanistic taking a communal approach to blending The philanthropic landscape in Memphis is Across the interviews conducted for this purposes such as storytelling, cultural the arts and community uplift in Memphis. part of a historically constructed imbalance study, the theme of high art versus low art memory, and resistance. MMI is woefully of power and wealth. The trends in arts manifested in a variety of ways. Historically, aware of this reality and intentionally The Black arts ecosystem that MMI envisions giving in Memphis parallel the political- organizations that center what is considered disrupts the dichotomy by funding is a collection of mutually sustaining arts economic history whereby Black people to be high art, such as ballet and classical organizations and programs that support a organizations, artists, and arts pathways have been excluded from equitable music, have received meaningful sums of wider range of artistic expression and that that are informed by the community in opportunities to garner resources. The financial support. These legacy organizations do not stigmatize art forms based on this which they are embedded, and that are circulation of arts philanthropic dollars in (the symphony, the art museum, the ballet, worn logic. intentional in maintaining a thriving and the city reproduces the trend of egregious the theater, the opera) have often been evolving Black arts community. Dirks neglect of the city’s largest demographic. supported and held as the standard of what With an historical understanding of the arts commented on how the need to incubate is considered quality and valuable art. in America, MMI brings different evaluative a Black arts ecosystem became strikingly Disruptive philanthropy is an insurgent thinking about why art is valuable and the apparent early on. “As we were doing the practice that fundamentally challenges As Dirks noted, “Your symphonies, your work it does and can do in communities. work, initially we were focused moreso on philanthropic redlining. MMI uses five older, established organizations, which youth development outcomes …we realized key strategies in its practice of disruptive is essentially coded for your white Cultivating a Black Arts Ecosystem very quickly that in order for us to create philanthropy: (1) challenging the high art/ organization[s] [are well-funded]. If you The leadership and partners of MMI stressed a critical mass of opportunities for young low art dichotomy; (2) cultivating a Black aren’t necessarily in that space, then what the importance of a thriving arts community people, we would also need to get into the arts ecosystem; (3) being invested in it means is that you only have access to for youth development but also for matters business of building organizations, building community as opposed to merely investing small dollars, you only have access to of social justice. In its efforts to support ideas, but also supporting organizations in a community; (4) having a dual structure $5,000 at a time, or $10,000 at a time, and the arts community in Memphis that is that already existed.” In order to create in which they operate as both a grantmaker that’s if you created something that’s really invested in both, MMI has emphasized that meaningful opportunities for youth and a programmer; and (5) using data to good.” In other words, art forms that were this cannot be an individualistic endeavor development in relationship to the arts, MMI

ARTS GRANTS IN MEMPHIS, 2012 TOTAL PRIVATE GRANTS PRIVATE GRANTS BY DISCIPLINE PUBLIC GRANTS PUBLIC GRANTS BY DISCIPLINE In 2012, nearly $10 million in private and public grants went to arts MUSIC $2.97M THEATER $221,750 organizations in Memphis. Only 12.7 percent $8.85M TO $997,757 of private dollars, and 8 percent of public MULTI $1.67M VISUAL $191,393 dollars, went to racialized organizations. 58 GRANTEES TO 51 MULTI $186,420 View the data table for private funding ¬ VISUAL $1.35M MUSIC $177,190 View the data table for public funding ¬ GRANTEES DANCE $697,650 DANCE $106,560 THEATER $489,656

36 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 37 recognized the need to curate a community Washington’s comments capture how peer organizations face similar challenges While MMI’s tactic is to fund community arts of organizations, artists, and initiatives the wrap around services MMI provides and it also created opportunities for initiatives and organizations, it is first and that formed an interconnected system of ensure that organizations have resources collaboration to support the larger vision foremost invested in the wellbeing of the arts, youth development, and community they need to thrive, which helps to build that they all care about—empowering their local community and in imagining a future empowerment. the ecosystem. MMI is intentional to forge communities through the arts. Comparing that looks better than the contemporary partnerships between local artists and Black the current state of Black arts in Memphis reality. With this aim in mind, MMI has been arts organizations because it understands to MMI’s desired end, she stated, “I look at intentional in its grantmaking processes. MMI these pathways and partnerships have long- now where we are in the city…it’s a lot of MMI funds arts organizations in a manner has not simply waited for organizations and term benefits for the local community. separation and division when it comes to the that helps them expand their capacity, artists to reach out to them as a funder, but African-American arts period. Everybody demonstrating an investment in the it has aggressively sought out organizations. The ultimate purpose of the Black arts has their own thing, their own audience.” But longevity of a Black arts ecosystem and a In its efforts to socially engineer a Black arts ecosystem is to embed high quality Martin is hopeful that “if we pull together recognition of how certain barriers have ecosystem, MMI has supported a variety of arts education and arts engagement and it becomes what it probably should be,” previously prevented this from happening. arts organizations. opportunities for young people within a thriving Black arts ecosystem can be a Martin noted: the broader context of the community. powerful tool in mobilizing the community. Many of MMI’s grantees commented on the MMI has forged strategic partnerships I have never in the history of what I benefits of the Black arts ecosystem vision with both established arts organizations Being Invested in Community Versus do, ever seen an organization that and model. For instance, Kenya Washington and historically underfunded Black arts Investing in Communities is so hands on from a supportive stated: organizations to build such an ecosystem. Given its vision of cultivating a Black arts standpoint…. They provided us with The vision is to incubate relationships and ecosystem, MMI has offered wraparound consultants throughout the entire I had three interns that they sent to organizations that can have longevity— services not only for its grant recipients but process. They came through, maybe help me. That was a big help, because empowering Memphis communities through also for the larger community it serves. This every other week, just to make sure all you had to do was tell the interns the arts, particularly those Memphians that translates into an asset-based approach everything was okay. They provided what you needed, and I could be in two have been overlooked. that values each arts organization’s unique us with interns. They provided us with places at one time.... When you got 93 strengths and contributions. MMI meets someone that would assist us as far children and you got them ages 6-18, Glenda Martin, executive director of organizations where they are, providing as program management. Or not so you need extra people, you need eyes a grantee organization, highlighted assistance to expand organizational much just program management— for security. You need somebody with that MMI’s cohort model was useful in capacity. This approach is particularly more of a fellow. They attended both the little ones at all times, even if they facilitating relationships that might serve important because, as Dirks noted: performances. They strategized with are just going to the restroom. With the as a foundation for this arts ecosystem. As us….That extra bit of encouragement big ones, you need people up working she stressed, there is value in sitting at the In many instances, these are people of and training and instruction is, I with them, you need eyes on the big table with similarly aligned organizations color who are starting organizations, think, the one thing that will help an ones too. So, the older ones too, so just that invest in arts with larger missions of [and] they aren’t necessarily starting organization that is striving to increase the use of the interns, that was a great community development in mind. “My it from a seed funding of $500,000 or their capacity get it, the know-how help this summer…Each of my interns current cohort group…is represented by something. In many instances, it’s an to increase their ability to sustain played a string instrument, and so the most of the major arts organizations in the individual who’s putting it on their back themselves…So, this organization, to one that played cello, he sat with the city. I was shocked to even be asked to and saying: I’m going to do this thing me, as a funder, is more than a funder… cellist, the one who played violin, I had come to the table to be on this.” because I think it’s important. What They fund, but they help you strategize. two on violin. I made sure the interns they immediately see is that there is no They help you become successful. were with them all day long. Martin emphasized how the cohort meetings support and help with their 501(c)(3) provided an opportunity to recognize how status. Martin’s account is indicative of how MMI takes a holistic approach to incubating the

38 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 39 organizations it supports. The full burden inconsistent with MMI’s practice of disruptive to meet certain eligibility requirements for dual processes of allocating resources and is not on the organization to prove their philanthropy and would instead reproduce small sums of funding, at times for projects implementing programming help MMI (a) to ability to grow and expand. Instead, MMI has the status quo in arts funding. that are not in alignment with their core ensure its theories are informed by practical demonstrated a commitment to partnering vision. Pickney suggested that this was experience, research and data collection, with community arts organizations to help “Yeah sure, the orchestra is going to have one of the unfortunate results of traditional (b) to develop and revise programs based them identify opportunities for growth. great numbers, the ballet is going to have arts giving practices, “I blame the funding on the evolving theories, and (c) to support great numbers,” said Rachel Pickney, an committee, which comes up with whatever organizations within the arts ecosystem Leaders of MMI are conscious of the MMI partner, “but some of these institutions the sexy thing is of the day. Whether it’s arts based on coherent theory and practice. various barriers that have kept Black arts [Black arts organizations], no. They have education, community arts, or community This has made the organization not only organizations from receiving transformative boards—they’re their fellow next door engagement, they [arts organizations] come more efficient but also more responsive to sums from traditional foundations and neighbor. They’re trying to come up with and twist themselves—like they create a community needs. philanthropic organizations. They are also some ideas on getting people together and project so that they can get that money. sensitive to the effects that these barriers they’re grassroots, but they don’t—they’re But then, they’re adding to all the things MMI’s professional development (PD) have had on the success of small Black lucky if they get a few hundred dollars they do, and they never really focus on what workshops provide examples of how the arts organizations. Washington shared, “...I together.” Pickney went on to challenge the exactly they do. That’s not good for your dual structure promotes the practical was doing everything out of my pocket, process of inequity that persists in traditional organization.” application of theory and catalyzes support and when I didn’t have the money we just giving practices, “But, how are they going to for organizations. Topics for workshops couldn’t do it, because so many of them [the be on the same level as the ballet? Some of Such overextension is exacerbated by the reflect the practical experience of MMI youth] couldn’t come up with the money. So, these institutions have so much money…And fact that the amount of time and resources staff and the information collected about if we had a big performance, for instance, my thought is like hey, they need to start needed to secure and report on these small strengths and needs of individual artists, when we performed for President Clinton, I hearing that, for years and years and years amounts of funding is, in many instances, arts organizations, and the ecosystem took my money and had the girls’ hair done, you’ve been benefitting, now, we have got more than the actual economic value of the as a whole. Both the music fellows and because nobody else was going to do it. to…” Thus, there is a need to redirect and do grant. MMI is intentional not to reproduce leaders from grantee organizations have I took my money and made sure the guys more aggressive funding for organizations this cycle. For instance, grant recipient attested to the thoughtfulness with which had tuxedo shirts and those who already that have been historically undervalued and Glenda Martin shared how MMI allowed MMI selected speakers from around the had one, I made sure they were clean and underserved, largely as a result of structural her organization to re-submit their grant country to lead seminars on organizational white…” racism and class discrimination. Recognition application after they developed a strategic infrastructure, race and inequality, strategic of this historical trend and its detrimental plan and realized that the proposed planning, and more. Many of the music MMI is intentional in creating a different impact on the development of a Black arts programming was outside the scope of the fellows expressed that some of their most type of funding criteria that reflect the ecosystem in Memphis helps to drive MMI’s refined vision. meaningful experiences with MMI came in contexts of artists and organizations that giving strategies and vision. these workshops. Tyrone Maddox shared, are in and of the communities they want to Having a Dual Structure: “I literally leave the sessions, like, feeling impact most. Standard eligibility criteria— Meeting organizations where they are Grantmaker and Programmer overwhelmed that these people are giving such as 501(c)(3) status, minimum size of also means not forcing organizations to One of MMI’s advantages has been that me information to become a better human operating budget, or established board of be something that they are not, or to do even though it has been a grantmaker— being, you know?... And, I think it’s… an directors who financially contribute to the programs that are not in the scope of their administering transformative and more example of really the kinds of dialogue organization—are not used as the primary mission. Given the financial need of many modest sums, and connecting programs that need to be happening around the evaluative measures of a potential grantee’s Black arts organizations, they often develop to important non-monetary resources—it nation, you know? And, it’s just profound. merit. Given the historical patterns of wealth programming to meet criteria of whatever also has implemented its own programs Absolutely mind blowing.” accumulation and philanthropic giving, funding opportunities become available. that allow it to apply a philosophy and to use unduly exclusive criteria would be This often means stretching themselves assess its effectiveness. Combined, the Echoing this sentiment, Paul Hudson, also a music fellow stressed, “I think that the PD

40 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 41 sessions are amazing at bringing in people MMI has supported the Black arts ecosystem How do we know what impact we Collection and analysis of data from the who probably would never be brought in by in Memphis by offering tools to use data are having on students, schools, and grant cohorts and INE helped MMI to big time organizations because [it requires] effectively. Nicole Branch noted: communities? identify both enduring and emerging getting comfortable with the uncomfortable. challenges within arts organizations—and Those people that MMI brings in get MMI support in this area ranged from Which practices allow for the most the arts ecosystem as a whole—related comfortable with the uncomfortable. They the assessment tests to some of the gains and achievements in student to middle management capacity. The actually question—they have PD sessions training pieces …We’re really excited efficacy? Program Development Institute was about race, on working different with other about measuring more of what we’re created to support mid-level managers of personalities.” doing. You know, it’s kind of hard when What practices and methodologies are arts organizations in improving program you’re an intern program to quantify, transferrable to partner organizations? design and implementation, increasing their In discussing the impact of the PD qualify, you know, to measure relational competencies in nonprofit management. It sessions, music fellows and grant recipients stuff. But there are other things that What practices and methodologies can also builds on classroom success, employing often stressed that these workshops happen in the relational process that be replicated nationally? (MMI, n.d.) MMI Music Fellows to take what has been were emblematic of how MMI’s funding you can measure and so we are, we’re learned in classrooms into community practices represented their commitment just more, we’re thinking more in those For example, a variety of qualitative and organizations. to reimagining Memphis and the world. terms and I think they’ve [MMI] got our quantitative data collection methods were Through the workshops, MMI offered more brains just firing up. used to evaluate the MMI Music Fellows MMI Works, MMI Summer Beat, and the than monetary resources; they brought program, including pre- and post-experience Program Development Institute show unconventional ideas to their grantees— MMI is unique in that from its inception it surveys of students; focus groups with different aspects of MMI’s organizational which, according to the fellows, helped them has engaged in routine and rigorous data fellows and teachers; rubrics completed by learning process. Continuous data collection to be even more engaged and effective. collection related to both process and MMI staff; and school student discipline data. and analysis, and responsiveness to Thus, as a grantmaker and a programmer, outcome measures. It has consistently used Data reporting and analysis tools such as critique and suggestion, allows them to MMI is able to reimagine and create the data to drive organizational learning and data dashboards have been used by fellows, strengthen existing programs, dispense conditions for what working and operating decision making about program updates and school partners, and MMI staff to gain with approaches and techniques that are in the city can look and feel like. quality improvement: insights for future program planning. not effective, and create new, more far- reaching initiatives that address the most Using Data to Support Practice The in-house data driven culture for Across time, MMI has refined and pressing gaps and oversights. Additionally, Nonprofit organizations of all sizes often Memphis Music Initiative exists to strengthened its approaches to formal consistent feedback allows MMI to create lack the capacity to systematically collect ensure that we are achieving and and informal program evaluation. Lessons additional avenues of engagement for the data, to turn that data into information meeting the mission and vision of learned from past work have led to artists, organizations, and youth with whom through rigorous analysis, and to take MMI. It also serves as a best practice adaptations and innovations. The MMI Works they have already built relationships, thereby the time to reflect on and learn from the model for our partner organizations program and MMI Summer Beat creative fortifying the extant Black arts ecosystem. information (Major & Brennan, 2011; Morariu, and hopefully as a national platform youth development program were two new In sum, MMI’s embedded feedback loop Athanasiades, Grodzicki, & Pankaj, 2016). for other collaborative initiatives. The initiatives in 2016 that resulted from a review promotes effectiveness in real time; a Arts organizations that continually struggle data driven culture takes a multi- of the school-based and extended learning greater and more targeted impact on to procure resources face significant pronged approach seeking to answer programs. The review identified a gap and communities through new programs and challenges in identifying appropriate key the following questions in order to an opportunity: Youth development should initiatives; and increased opportunities for metrics, determining how to measure them, make actionable organizational and not stop when the school year ends, and the its current partners, which strengthens these and collecting and analyzing data (Vakharia, procedural changes. summer provides an opportunity for more relationships and networks. 2013). intensive extended learning opportunities.

42 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 43 THE FIVE STRATEGIES IN ACTION: THE MMI MUSIC FELLOWS PROGRAM

Black Arts Ecosystem and Being Invested and MMI identified matches. In describing Recognizing the lack of in Community. The Music Fellows program the process, Fellow Hudson offered, “So 2016-2017 exposure to arts education is reflective of both the commitment to they went through the process and they In-School Fellows building a Black arts ecosystem and to did a fellow match… speed dating thing… in the underserved Mariama Alcantara meeting the community where it is through The funny thing is that I could have never communities of Memphis, David Bassa wraparound services. imagined myself at a Catholic school. … And, MMI developed the Music Ty Boyland the Catholic schools wanted me! And, so, I Fellows program to Yennifer Correia The program moves students beyond was like, ‘Wow.’” Jawaun Crawford support in school-based appreciation to participation and skills Andre Dyachenko arts education for youth. building. The fundamental purpose is to MMI was successful in its approach because Tonya Dyson offer Memphis youth meaningful exposure as a grantmaker, they were able to bring Christopher Franceschi This program places music professionals in to the arts in a way that is engaging and together different community interests, and Julian Henderson classroom settings to provide high quality developmentally positive. To this point, as a programmer, it was invested in creating Claude Hinds III music engagement for youth across the city, Henry Reynolds, a music fellow, shared, the best possible outcomes for the fellows, Kerry Holliday particularly in the areas of highest need. The “That’s the part they [MMI] really focus the schools, and the broader communities Sabrina Hu term “engagement” is used rather than arts on—engagement. It’s the music, that’s the served. Shayla Jones education to underscore the difference in tool, but the engagement is the important Marcus King MMI’s approach. part.” This is the lens that shapes what Using Data to Support Programming. MMI Wes Lebo it understands as meaningful funding began as a pilot project. Music Fellows Stephen Lee Challenging the Arts Binary. Fellows taught toward a Black arts ecosystem in Memphis. Findings from an external evaluation Betty Lin Gallardo a variety of music programs that disrupt As MMI works to develop a Black arts indicated that the fellows were having a Justin Merrick the arts binary. MMI Fellows were observed ecosystem, their effort is not to replicate significant influence in three key areas: (1) Hannah Monk leading classes ranging from piano lessons what mainstream arts ecosystems look helping young people develop a clearer Gerald Morgan and orchestra to Hip Hop lyricism, Gospel, like in most major cities, which often trace sense of self, (2) providing them with a Michael Mosby and Soul music. Informed by a historical traditional high art/low art binaries. pathway for healthy self-expression through Sean O’Hara consciousness of inequity in the arts, music, and (3) coaching them through Ryan Peel MMI makes available a wide range of arts Having a Dual Structure. An important more pro-social interactions with peers Marisa Polesky opportunities that it believes offer unique benefit of MMI’s dual role is that it allows the and adults, while also exposing them to Jennifer Puckett cultural capital for empowering communities organization to be innovative and creative local professional music networks (Happel- Ajibola Rivers and inciting social change. While art forms in how it engages grantees and the larger Parkins and Jamerson, 2015). Thirty-one Joel Schnackel historically associated with Eurocentric community. This was manifested in the way recommendations were made for program Rufus Smith ideas of artistic expression have been on MMI paired music fellows with schools in improvements, which were used to refine Rafaela Spencer the receiving end of philanthropic dollars which they would be working. To match the program in year two. MMI uses data to KeDavion Taylor historically, MMI intentionally has funded art fellows with school sites, a “speed dating” refine community engagement, increase Ashley Vines forms that are meaningful to the community event was organized where fellows met the quality of programs, and aggressively Mersadie Wells it is invested in and that have the capacity to representatives from partnering schools; promote and pursue equity. Iren Zombor touch the lives of those most in need. in the process fellows and schools had opportunities to select their top choices

44 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 45 THE FIVE STRATEGIES IN ACTION: MMI WORKS

Started in 2016, MMI Works While MMI Works is primarily a summer Having Dual Structure. Through is a college and career program, many of the students have music MMI Works, MMI leverages its role fellows in their classrooms during the as grantmaker and programmer readiness program that academic year, and MMI maintains contact by building relationships between promotes youth leadership with the students after the summer has organizations they fund and youth ended. in underserved communities. These and youth voice by relationships allowed MMI to assess providing access to music Challenging the Arts Dichotomy. By placing the needs of youth and grantee and arts training. students with partnering organizations with organizations and to innovate a three- a variety of specializations—including opera, tiered training track. By offering orchestra, dance, and visual art—MMI Works internships, apprenticeships, and Youth are invited to explore professional ensures that youth are being exposed to externships, MMI Works is able and technical skills by working with many different music and art forms. This to provide a more tailored and various organizations and businesses means that MMI shows no preference for any comprehensive service to youth and spanning across Memphis. MMI provides one genre or approach, but instead focuses to partnering organizations. opportunities for youth to have culturally on the skills and opportunities that these enriching experiences that stimulate creative organizations can offer local youth. Using Data to Support Practice. On expression, promote youth ownership, and the first day of orientation, MMI Works improve academic and life achievement. Cultivating a Black Arts Ecosystem and participants receive a survey that asks,

Being Invested in Community. Many of the among other things, what they hope Given MMI’s promotion of youth students in MMI Works are also participants to learn; what job experiences they development and social justice, this in other community spaces funded by MMI, hope to have; and how they hope to program does more than create job thus capturing the Black arts ecosystem develop professionally. At the end of opportunities: The initiative places a high in motion. The primary thrust of MMI the program, both the youth and the value on cultivating relationships between Works is to develop young leaders who are participating organizations are given the students, MMI staff, and the arts professionally trained and engaged within an exit interview that evaluates their organizations that partner with this program. their communities. By placing them with experiences. These data collection local organizations, young people are not instruments allow MMI to reflect on Program staff meet with participants only exposed to role models right where the strengths and weaknesses of the on a weekly basis to develop workplace they are but are also given opportunities program, to evaluate the benefits of professionalism, and to build on Black to grow and thrive locally. Moreover, the program to its participants, and culture and social norms. Students receive through their interaction with supportive to strategize on how to continually advice on financial planning, tips for college art professionals who value and promote improve its approach. This helps readiness, and intentional engagement in teen voice and agency, youth develop to ensure that MMI Works will be a critical dialogue about themes such as art, MMI Works professional development field excursion to the the confidence and vision to impact their viable and vital program to Memphis social justice, and the future of Memphis. studios of Memphis cable station WQOX-TV. immediate circumstances. communities for years to come.

46 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 47 MEMPHIS MUSIC INITIATIVE STAFF

director of global logistics for CSI, an DARREN ISOM the Memphis High School Musical Theater Arts overseeing a variety of collaborative international trade finance group, where he Awards, performs with the Opera Memphis creative programs and exhibitions. At MMI, Founder & Executive managed strategy, organization, and change chorus, and sings and plays handbells at she helps to build sustainable relationships Director management projects in Belgium, Spain, Germantown Presbyterian Church. with Memphis’s youth while implementing As MMI’s founder and France, The Netherlands, and Germany. youth-led and youth-driven programs. Her executive director, Darren passion for cultivating trust and lasting Isom both developed and A seventh generation New Orleans native, TAWANNA relationships has helped to naturally create leads the $20M philanthropic Isom is a graduate of Howard University, BROWN opportunities for collaboration with various initiative that uses high- Institut d’Études Politiques de Paris, and Program Manager, communities, organizations, and artists that quality music engagement Columbia Business School’s Institute for invite participation from a broad range of Community Music Grants programs and activities Nonprofit Management. An activist for backgrounds and expertise. Tawanna Brown is a native to drive student, youth, and community disconnected youth and LGBT communities of Chicago with paternal outcomes in Memphis. A proven strategic of color, he has served as an advisor to the As a former fellow and now mentor of roots in Memphis and Milan, leader and nonprofit professional, his career leaders of several Bay Area and national the ArtUp Fellowship, her interests in Tennessee. She has worked demonstrates his commitment to amplifying foundations and currently serves on the community engagement and social change as a staff and board member, community voice and engagement in board of Beloved Community, Collage Dance have led her to an artistic practice that peer coach, and community volunteer within developing and leading innovative, high- Collective, and Creative Works. embraces the idea of redefining why to not-profit, governmental and educational impact youth and community programs, create and how to create. In 2017, the Kresge sectors. She brings experience in a variety practices, and philanthropy. Prior to MMI, Foundation awarded a grant to Bullock of areas: program and organizational Isom was a manager at The Bridgespan MORGAN and her community partner to implement a operations, youth and parent engagement, Group where he was a strategic advisor to BECKFORD creative entrepreneurship project that used participatory evaluation and grant writing art as the vehicle for civic practice and social nonprofit and foundation leaders in youth Coordinator, In-School and management. Brown is particularly enterprise. As a freelance artist, she is most and community development, foundation Partnerships inspired by the cultural wisdom and interested in art that questions and analyzes strategy, and education policy. Morgan Beckford is metaphors embedded within the collective identity, culture, and the notions of power the coordinator of in- stories of communities. and ownership. Before Bridgespan, Isom worked as the art, school partnerships design, and public programming director for MMI’s In-Schools for Times Square Alliance, planning and Team. Her roles include BRITTNEY BOYD KIESHA DAVIS implementing programming for public art recruiting new fellows and schools and BULLOCK Director, Grantmaking and and performance initiatives throughout the connecting the in-schools network to a Youth Program Manager Capacity Building Times Square District. Prior to working at variety of community organizations and Born and raised in Memphis, As Director of Grantmaking Times Square Alliance, Isom served as VP after-school and summer programs. In Tennessee, Brittney Boyd and Capacity Building, of programs for Groundwork, a start-up her roles outside of MMI, Morgan primarily Bullock has worked as Kiesha Davis leads a youth services organization in East New acts as the Opera Memphis Conservatory Project Manager at the team responsible for the York, Brooklyn, helping young people in director, with the hopes of cultivating the Urban Art Commission stewardship of MMI’s underserved communities develop their relationship between Memphis-area students managing the city’s largest support approaches and strengths and skills through experiential and the performing arts. When she is not public art archive, and as the partnerships investments in partnership with funded learning and enrichment programs. Before working with Memphis-area students, she and community engagement manager music engagement organizations. She brings joining Groundwork, he worked as the teaches private voice lessons, adjudicates for Crosstown Concourse & Crosstown to the initiative extensive experience in

48 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 49 building and fostering grantee relationships, initiative that served nearly 800 students AMBER nine years as the director of finance and amplifying collaborations to address each school day, he was featured on the HAMILTON administration for the Mississippi Children’s community level outcomes and expertise in front page of the Cincinnati Enquirer Chief Operations and Museum, a 501(c)3 nonprofit. There he developing large-scale, multi-million dollar sparking the conversation, “Can Music Strategy Officer was responsible for all financial, human grantmaking frameworks. Prior to joining Rescue a Life.” Amber Hamilton is a resource, information technology, security, MMI, Davis provided leadership on various seasoned leader, coach, and administrative needs of the museum, strategic initiatives to increase behavioral He was a graduate research fellow at the and trainer with extensive and oversaw the original $26.6 million health access through the investment of University of Cincinnati, where he studied, experience in leadership capital campaign that made the museum $40 million annually on behalf of St. Louis “replicable and sustainable arts-based strategies and nonprofit management. She a reality. Prior to the museum, he served started her career in professional sports County children, youth, and their families, intervention programs for at-risk youth,” in many capacities in the financial services management, first as an intern for the NFL, with a focus on school- based approaches leading to presentations on behalf of the U.S. and telecommunications industries. He has then moving on to become the assistant and interventions. She led the coordination Department of State with (1) Community committed himself to serving in nonprofit director of player development for the NFL of immediate youth-centered mental health Arts Center Directors from Dakar, Senegal, Players Association. Amber discovered her cultural organizations that advance response efforts in the wake of the 2014 Africa, and (2) artists and administrators passion for community engagement and the rights and access of underserved unrest in Ferguson and throughout her from Iraq representing the Ministry of redirected her career to focus on working communities and populations to educational tenure brokered expanded access to early Culture, University of Baghdad, and the Iraqi with community organizations and non- and other opportunities. Through first- childhood screenings and early identification National Symphony. governmental organizations. She began hand experience, he has seen how vital interventions for underserved communities. working at Fannie Mae in its Office of this work is. Kroeze is a native of Jackson, Additionally, she provided leadership in the Following his work in Cincinnati, Hall Community Giving, as a senior manager Mississippi, and holds a Bachelor of Business development of innovative and targeted directed global partnerships, operations, directing the employee volunteer program Administration degree from the University grantmaking programs which resulted in philanthropy, and research as the director and overseeing grants to community of Mississippi, and a Master of Business investments of nearly $10 million over two of partnerships and operations for MMI. He partners. Hamilton went on to lead a national Administration degree from Millsaps College. years and expanded the continuum of serves as an arts/equity/philanthropy subject group of nonprofits during her tenure at Rebuilding Together, where she served as a behavioral health services for the St. Louis matter expert on grant panels across the vice president overseeing 165 local affiliates. region’s children and youth. nation including the Heinz Endowments and CRYSTAL LIPFORD the National Endowments for the Arts. Program Coordinator She has a bachelor’s degree in political DERON HALL science from Howard University, a master’s Crystal Lipford provides support A graduate of the University of Cincinnati degree in executive leadership from for the MMI extended learning Director, Partnerships and College-Conservatory of Music (MM ‘13, Georgetown University, and a certification in program MMI Works. Lipford is a Research Music Education, French Horn) and the executive coaching from Georgetown. native Memphian with a devotion Deron Hall has developed Executive Program in Arts and Culture to music, arts education, and led multi-million dollar Strategy at University of Pennsylvania, he youth development and the social impact strategies currently serves as the chief executive and JOHNNY community-at-large. A savvy executed by schools, innovation officer with Memphis Arts Engine, KROEZE marketer by day and a local nonprofits, philanthropies a social impact design firm creating the musician by night, Crystal has worked in the Director, Finance & and others. innovations of tomorrow, today. nonprofit community for more than 10 years. Operations Her past experiences and commitment Before serving as director Stemming from his work as executive to the community have deepened her of finance and operations, director of Cincinnati Outreach Music appreciation for how nonprofits seeks Johnny Kroeze spent Project, a creative youth development

50 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 51 to improve the quality of life for the city, transitioned into the role of professional DOUG the community, Washington served as a country, and the world. school counselor and was later recruited WADDILL bassoon professor over the course of 14 and served in an administrative role in years, and he was tenured in 2008 at the Program Manager Memphis and Shelby County Schools for age of 33. His CD entitled Legacy: Music for Doug Waddill is a VICTOR nearly three decades. Thompson joined Bassoon by African-American Composers program manager for was released on the Albany Records SAWYER MMI in September 2016, managing the In- the Institute for Non- label. Washington was the first non-string Fellowship Coach Schools Team, which currently provides Profit Excellence. He recipient of the MPower Artist Grant from arts engagement in more than 60 programs Victor Sawyer serves as a worked as the director the Sphinx Organization, and he received across 33 parochial, public, and charter support to embark on a global concert fellowship coach for MMI, of education for the schools. and masterclass tour during the 2015-2016 working with a team of Greater Houston YMCA season. The tour featured solo and chamber teaching artists to create and previously served as an elementary engaging and impactful music performances in cities such as São LUCIE school principal. He loves seeing how all Paulo, Rio de Janeiro, Toronto, Cape Town, arts programming for THOMPSON non-profits can find ways to work together Linz, and Zurich. In 2015, he was named by youth in underserved to create opportunities for youth leadership, the Memphis Business Journal as one of the communities throughout the Greater Finance & Operations learning, and development. Top 40 under 40. Memphis Area and as an instrumental Manager instructor at the world famous Stax Music As a native Memphian, Academy. Lucie Thompson feels the LECOLION GAVIN divided nature of this city, WASHINGTON WIGGINSON As a freelance trombonist, Sawyer frequently both past and present, very Director, In-School Fellowship Coach records at legendary studio such as Sun, deeply. One of her earliest Programs Gavin Wigginson is a proud Royal, and Ardent. He has performed memories was being awakened by the Lecolion Washington Memphis native and currently at the North Sea Jazz Festival, South by sound of marching in the streets after the has established himself serves as a fellowship coach Southwest, and Dizzy’s Club Coca-Cola in assassination of Dr. Martin Luther King, Jr. as a leader for the with MMI and as the concert New York City’s Lincoln Center. next generation of arts choir director of Memphis’s Having worked as an office manager in the entrepreneurs, and he only HBCU, LeMoyne-Owen non-profit sector for decades, she leaped has been a staunch College. After earning both a Bachelor of JANET at the chance to mend her home town advocate for the relevance of music as Music (2006) and Master of Music (2008) THOMPSON and support the disempowered youth of an agent for social change. He was the co-founder and executive director of the in vocal performance at The University Coordinator, In- Memphis through the work of the MMI. Lucie PRIZM Ensemble, an organization whose of Tennessee-Knoxville, Gavin pursued a has two sons who are almost grown and a Schools Leadership and mission was to build a diverse community doctorate in Musical Arts at The University husband who will never grow up. Engagement through chamber music education, youth of Kentucky. In 2010, Gavin made his Janet Ware Thompson development, and performance. PRIZM recording debut as Alfedro with Albany has spent her adult life in has community engagement and youth Records in Die Fledermaus. Gavin has development programs all around Memphis service to the students performed professionally across the US and including the PRIZM in the Schools Program of Memphis and Shelby as a member of the acclaimed American County. She began her career in education and the PRIZM International Chamber Music Festival. In addition to his work in Spiritual Ensemble. as a classroom teacher. From there she

52 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE MMI MODEL 53 SECTION 3 THE CHALLENGES AND OPPORTUNITIES OF SCALING DISRUPTIVE PHILANTHROPY

MMI Summer Beat grantee Harmonic Sounds Strings orchestra recital. Empowering through the arts

Key Questions Important Aspects What is the the unique artistic Understand community cultural development and cultural heritage of racialized Evaluate cultural resources of a given community groups in the geographic area? Recognize the importance of history and of contemporary reality to artistic production This report has described a model that holds The challenges to implementing the MMI promise for other organizations seeking to model are numerous; time, resource, and Using the community’s cultural assets to address community needs transform philanthropy to bring about true staff commitment are significant, and the What is a critical need in the Identify cultural assets diversity, inclusion, and equity in the arts. constraints of conventional funding models community that the cultural assets Identify community needs Although they may be challenging, MMI’s can be difficult to surmount. This form of can be mobilized to address? Ensure sufficient number of professional artists within community promising practices provide a framework for disruptive philanthropy also necessitates Addressing the dynamics of race, space and place others to adopt and adapt. ongoing knowledge of the communities, spaces, and places to which funds are What are the historical and Assess the racial history of a given place MMI understands that art is critical being allocated, in order to ensure that contemporary dynamics? Consider how that history impacted contemporary inequities in resource allocation for communities to imagine societal practices are articulated to the needs of Evaluate the barriers faced by racialized and other marginalized communities based on transformation. It emphasizes the importance those who have historically been overlooked How do I elevate my place and space consciousness to consider other of artistic expression for expanding youths’ and marginalized. Nonetheless, as MMI perspectives as being worthy of capacity to imagine the world anew. It also demonstrates, disruptive philanthropy is a time and consideration? makes a commitment to supporting artists worthwhile—and essential—endeavor for Challenging the arts dichotomy and arts organizations. This means working those who care about real equity and social to ensure individual artists are supported in justice. How does the arts dichotomy Identify the forms of art that are considered “high” and those that are considered professionalization, livelihood, space, and manifest? “community” (usually understood as “low”) having a peer group for ongoing support. It The practice of disruptive philanthropy Actively work to challenge this understanding through the equitable allocation of dollars also means working to create the conditions begins with questions that cultivate and and other resources Promote intersections among different art forms that help to dissolve the mainstream/ for arts organizations to be well-funded, to guide the work. Said inquiry must be tailored cultural dichotomy have deep roots in their communities, to have to the specific vision, mission, and aim of a voice in the larger philanthropic landscape, the sponsoring organization and to the Being invested in community and to have the flexibility and resources to communities it seeks to serve. Disruption is Who owns disruption—the Consider how expert is defined evaluate their effectiveness and to respond not a one-size-fits-all process; answers to organization or the community? Understand who gets to be the expert effectively to challenges. the questions on the following page, along Evaluate which voices are heard and which are silenced with strategies and tactics, must be derived Cultivating an arts ecosystem MMI recognizes a wide range of art practices from a genuine understanding of what exists as valuable cultural capital around which a and what is possible. What is the current state of Create intentional links between arts organizations to strengthen community ties community can mobilize. In Memphis, the linkages between and among Foster space for organizational leaders to learn effective strategies from one another practices are music, dance, and cultural forms Diversity, equity, and inclusion can be more racialized arts organizations? Facilitate critical discussions around broader visions about the relationship between art, Between the arts organizations individual development, and community empowerment. endogenous to African-Americans. In other than buzzwords. They can form the core of and the community? Provide a full service, individualized wraparound approach communities, the cultural capital will likely be a philanthropic practice that prioritizes the Fund community organizations that stimulate the community’s artistic assets that have different. This means having significant and incubation and cultivation of community What are the unique strengths and been historically underutilized meaningful relationships (embeddedness) in a organizations, as MMI’s practices show. needs of individual organizations? Create spaces for collaboration and intersection for sustainability purposes specific locality. How do we best support them? Disruptive philanthropy is an accountability Having appropriate structure Relatedly, MMI meets Black arts organizations practice informed by knowledge of historical where they are and helps them expand their trends of wealth accumulation and exclusion How do we ensure appropriate Assess the status quo of internal and external behavior to align with democratic capacity. This means making a conscious that has been shaped by structures of power research and development? approaches to wielding power Adaptiveness and flexibility? decision to fund organizations without forcing that reinforce oppressive hierarchies of race, them to adapt their mission to meet MMI’s class, and gender. As more public goods Using data aims in order to receive funding. Moreover, and services are relegated to the private What specifically do we hope Backwards planning and radical honesty—asking “what needs to be true,” taking stock MMI encourages its grantees to build sector, it will be increasingly important to be to achieve with disruptive of that response from multiple community embedded stakeholders and then doing partnerships with those who may not have the vigilant in combating philanthropic redlining philanthropy? How will we know exactly what is necessary same vision but who are deeply committed to and to be conscious in creating more equity we achieved it? Radical imagination—making space for reality that potentially would have already developing a viable and sustainable Black arts in funding. existed had the values of equity and inclusion been present and in the room when ecosystem. What will a thriving arts ecosystem decisions of the past were made (which ultimately creates something that is functionally look like? and critically relevant to the lives of human beings along the spectrum of socioeconomic What is our capacity to collect, diversity). analyze, and learn from data?

56 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI THE CHALLENGES AND OPPORTUNITIES OF SCALING DISRUTPIVE PHILANTHROPY 57 REFERENCES

ArtsEdSearch. (n.d.). Students - research overview. Retrieved from http://www.artsedsearch.org/ students/research-overview Arts Education Partnership. (2013). Preparing students for the next America: The benefits of an Arts Education. Arts Education Partnership. Bearman, J., Ramos, H. A. J., & Pond, A.-N. S. (2010). Moving diversity up the agenda: Lessons and next steps from the Diversity in Philanthropy Project. The Foundation Review, 2(2), 85– 99. Bedoya, R. (2014, September 15). Spatial justice: Rasquachification, race and the city. Retrieved from http://creativetimereports.org/2014/09/15/spatial-justice-rasquachification-race-and- the-city/ Boehnke, M. (2016, August 24). Tennessee sees slight ACT improvement. Retrieved from http://www.tennessean.com/story/news/education/2016/08/24/state-sees-slight-act- improvement/89209914/ Dawson, M. (1994). A Black counter-public? Economic earthquakes. Public Culture, 7(1), 195–223. REFERENCES & DeVos Institute of Arts Management at the University of Maryland. (2015). Diversity in the arts: The past, present, and future of African American and Latino museums, dance companies, and theater companies. Retrieved from http://devosinstitute.umd.edu/~/media/ D6750176AEF94F918E8D774693C03E53.ashx APPENDICES Foundation Center. (n.d.). What is a foundation? Retrieved from http://grantspace.org/tools/ knowledge-base/Funding-Resources/Foundations/what-is-a-foundation Foundation Center. (2017a). Top 50 FC 1000 foundations awarding grants for arts and culture, 2012. [Data file]. Retrieved from http://data.foundationcenter.org Foundation Center. (2017b). Aggregate fiscal data for top 50 FC 1000 foundations awarding grants for arts and culture, 2012. [Data file]. Retrieved from http://data.foundationcenter.org. Foundation Center. (2017c). Top 50 recipients of grants from FC 1000 foundations to US recipients, for arts and culture, 2012. [Data file]. Retrieved from http://data.foundationcenter. org. Foundation Center. (2017d). Aggregate fiscal data for top 50 recipients from FC 1000 foundations to US recipients, for arts and culture, 2012. [Data file]. Retrieved from http://data. foundationcenter.org. Gilbert, S. (2017, March 16). The real cost of abolishing the National Endowment for the Arts. The Atlantic. Retrieved from https://www.theatlantic.com/entertainment/archive/2017/03/what- eliminating-the-arts-and-humanities-endowments-would-really-mean/519774/ Gonzalez-Rivera, C., Donnell, C., Briones, A., & Werblin, S. (2008). Funding the new majority: Philanthropic investment in minority-led nonprofits. Berkeley, CA: The Greenlining Institute. Grantmakers in the Arts. (2017). Racial equity in arts philanthropy: Statement of purpose and recommendations for action. Retrieved from: http://www.giarts.org/sites/default/files/GIA- racial-equity-statement-of-purpose.pdf Horwitz, A. (2016, January 31). Who should pay for the arts in America? The Atlantic. Retrieved from http://www.theatlantic.com/entertainment/archive/2016/01/the-state-of-public-funding- for-the-arts-in-america/424056/ Jackson, M. R. (2008). Art and cultural participation at the heart of community life. In J. M. Cherbo, R. A. Stewart, & M. J. Wyszomirski (Eds.), Understanding the arts and creative sector

REFERENCES AND APPENDICES 59 in the United States (92–104). New Brunswick, NJ: Rutgers University Press. Kasper, G., Ramos, H. A. J., & Walker, C. J. (2004). Making the case for diversity in philanthropy. Foundation News & Commentary, 45(6), 26–35. Major, D., & Brennan, K. (2011). Expanding the impact of grantees: How do we build the STUDY METHODS capacity of nonprofits to evaluate, learn and improve. Grantmakers for Effective Organizations. Retrieved from http://geofunders.org/ DATA COLLECTION MeWe306.com. (n.d.). The Black arts funding trap: Why a new model is needed for funding BAME arts projects. Retrieved from http://www.mewe360.com/wp-content/ Interviews uploads/2016/11/MeWe360-Paper_The-Black-Arts-Funding-Trap_Nov_16.pdf Two researchers conducted 16 open-ended interviews with a variety of stakeholders, Memphis Music Initiative. (n.d.). MMI In-Schools Program report 2015-2016. including executive board members (N=6), members of grantee organizations (N=5), a peer Memphis Music Initiative. (2015). 2015-2016 strategic planning reseach findings. organization (N=1), state funders (N=2), and national funders (N=2). The interviews ranged Morariu, J., Athanasiades, K., Grodzicki, D., & Pankaj, V. (2016). State of evaluation 2016: from 30 – 90 minutes in length. All interviews took place at the MMI office, with the exception Evaluation practice and capacity in the non-profit sector. Washington, DC: Innovation of four phone interviews. All interviews were transcribed for analysis. A descriptive list of Network. Retrieved from https://stateofevaluation.org/media/2016-State_of_Evaluation.pdf interviewees is provided in Table A. National Philanthropic Trust. (2017). A history of modern philanthropy. Retrieved March 18, 2017 from http://historyofgiving.org Focus Groups Pohlmann, M. D. (2010). Opportunity lost: Race and poverty in the Memphis city schools. Knoxville, TN: University of Tennessee Press One researcher conducted two focus groups, each consisting of four fellows. Both male and Pop South. (2014, May 14). This ain’t Chicago with Zandria Robinson. Retrieved from https:// female fellows participated, of multiple races and ethnicities. Each focus group lasted about 90 southinpopculture.com/porchtalk/this-aint-chicago-with-zandria-robinson/ minutes, consisting of seven open-ended questions and semi-structured discussion. The focus Rose, K., Daniel, M. H., & Liu, J. (2017). Creating change through arts, culture, and equitable groups were transcribed and later analyzed alongside interview data. Development: A Policy and Practice Primer. PolicyLink. Robinson, Z. F. (2014). This ain’t Chicago: Race, class, and cegional Identity in the post-soul Site Visits South. Chapel Hill, NC: The University of North Carolina Press Two researchers visited seven school sites—a combination of middle and high schools, and Rushing, W. (2009). Memphis and the paradox of place: Globalization in the American South charter, parochial, and public schools—with fellow-led and teacher-led programs. Researchers (1st Edition). Chapel Hill, NC: The University of North Carolina Press visited a combination of choir, orchestra, band, and music production programs. Fellows Schuhmacher, C. I., Ingersoll, K., Nzinga, F., & Moss, I. D. (August 2016). Making sense of cultural observed were of both genders and multiple races. Class sizes ranged from 10–35 students. equity. Retrieved from http://createquity.com/2016/08/making-sense-of-cultural-equity/ Sidford, H. (2011). Fusing arts, culture and social change. Retrieved from https://www.ncrp.org/ wp-content/uploads/2016/11/Fusing_Arts_Culture_and_Social_Change-1.pdf Researchers also conducted four MMI grantee site visits. These visits included tours of South Arts. (2014). Arts education in the South phase I: Public school data and principals’ organizations’ facilities, musical performances, and observations of daily operations and the perspectives. Retrieved from https://www.southarts.org/wp-content/uploads/Arts- work of these organizations in practice. Field notes were taken at the conclusion of all visits. Education-in-the-South-Phase-I-Full-Report.pdf Urban Child Institute. (2013). Data book 2013: The state of children in Memphis and Shelby Geospatial County - demographics. Retrieved from http://www.urbanchildinstitute.org/resources/ Data from several sources were collected to map funding of the arts nationally, in Tennessee, in publications/data-book-2013/demographics Shelby County, and in Memphis, and discern patterns in distribution of funding. The research Vakharia, N. (2013). The knowledge-centric arts organization. Retrieved from http://www.giarts. team used data from 2012, the year for which complete data sets were available from all org/article/knowledge-centric-arts-organization Voss, Z. G., Voss, G., Louie, A., Drew, Z., & Teyolia, M. R. (2016). Does “strong and effective” look sources, to allow comparison. different for culturally specific arts organizations? Retrieved from http://www.smu.edu/~/ media/Site/Meadows/NCAR/NCARWhitePaper01-12 Youth.gov (n.d.). Positive youth development. Retrieved from http://youth.gov/youth-topics/ positive-youth-development

Maps throughout this publication were created using ArcGIS® software by Esri. ArcGIS® and ArcMap™ are the intellectual property of Esri and are used herein under license. Copyright © Esri. All rights reserved.

60 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI REFERENCES AND APPENDICES 61 Table A. Descriptive List of Interviewees Pseudonym Description Synopsis of interview ANALYSIS Nicole Branch Founder and Provided description of what it’s like to be an MMI grantee and how Overall, this study was an institutional ethnography of MMI. The collection of interviews, executive director of it compares to previous experience with seeking funding in Memphis. an arts organization Provided content for conceptualizing MMI’s funding model and impact. site visits, and social engagements with staff and fellows over the course of 10 months located in north informed the research team’s understanding of MMI’s mission, norms, and standing within Memphis; grantee its local context. Other methods also included a structured review and critical analysis of Paul Dirks MMI senior Provided background on MMI’s approach to giving; why they do leadership team things the way that they do when it comes to arts funding in Memphis. secondary literature on relevant topics (such as philanthropy and racial equity, arts and youth member Provided detailed examples about how MMI sets itself apart from development, the racial and political context of Memphis as a city); archival research of MMI’s broader philanthropic landscape. internal documents; and a qualitative coding using Dedoose (an online qualitative analysis Kenya Executive director of Provided description of what it is like to be an MMI grantee and how Washington an orchestra in south it compares to previous experience with seeking funding in Memphis. software). Geographic information system (GIS) technologies and GIS-based analysis were Memphis; grantee Provided content for conceptualizing MMI’s funding model and impact. used to enhance the ethnographic methodologies. Glenda Martin Executive director of Provided description of what it is like to be an MMI grantee and how After all interviews and focus groups were transcribed, the researchers engaged in an open an arts organization; it compares to previous experience with seeking funding in Memphis. grantee Provided content for conceptualizing MMI’s funding model and impact. coding process. To begin, researchers read the same three interview transcripts and each Rachel Pickney Community partner Provided detailed information about the philanthropic landscape for arts developed a list of codes/themes that emerged across them. The researchers then chose one giving in Memphis as someone that works within this industry. Helped interview to code independently, using the agreed upon coding scheme, then discussed results provide clear information as to why MMI is different than its peer orgs. to ensure that a reliable consensus was achieved on the application of the coding scheme. Cori Jones Out of state peer Shared examples of and experiences with philanthropic redlining in the organization broader philanthropic landscape. Provided context to compare against MMI’s experience in Memphis. After reaching a consensus on the list of codes and their descriptions, this list of codes was Natasha MMI staff member Provided information on MMI practice of giving from the perspective of uploaded to Dedoose. Codes ranged from themes such as “barriers to funding” and “Memphis Williams someone who implements its vision. Also gave detailed information on strategic partnerships and youth development component of MMIs work. as place” to “arts and social justice” and “high/low art binary.” The coding scheme consisted Sarah King Former fellow and Provided info about the MMI Fellows program and working with MMI as a of 13 codes, which were then used to analyze all transcribed data using the Dedoose software. current strategic strategic partner, and as a grant recipient. By coding the data in this way the researchers were able to assess relevant information across partner interview data in a systemized fashion. For instance, references in interviews that alluded to Lisa Cole MMI staff member Provided detailed information on MMI grantmaking practices. Provided content for conceptualizing disruptive philanthropy. Black arts organizations and artists working together, or creating arts pathways for youth in Dante Norwood MMI staff member Provided Info about the the MMI Fellows program and how it is received the city, were coded as “Black arts ecosystem” thus permitting researchers to explore this by schools. theme across the data and hone in on this specific characteristic of MMI’s model and vision. Nancy MMI staff Provided info on MMI Fellows program and its strategic Freeman member partnerships. Basic spatial analysis using GIS, including creation of overlays and buffers, was completed to Clara Jakes Former MMI Fellow Provided info on MMI Fellows program and its strategic partnerships. explore factors the distribution of arts funding in Memphis, Shelby County, and Tennessee, and Vernon Reed Federal arts policy, Provided details about federal funding for the arts and how it’s its relationship to racial and socioeconomic factors. research, and disseminated in the state of Tennessee.. advocacy Shaun Jackson MMI out of state Provided detail about their orgs funding model and how it compares or peer organization diverges from MMI’s model. Made clear what it means to fund projects across cities/states vs being an org fully invested in one particular community. Danesha MMI out of state Provided detail about their orgs funding model and how it compares or Blackman peer organization diverges from MMI’s model. Made clear what it means to fund projects across cities/states vs being an org fully invested in one particular community. Trent Woods MMI senior Provided details on how MMI’s vision is communicated and embedded leadership team in organizational culture. Also provided detailed info on MMI Fellows member program

62 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI REFERENCES AND APPENDICES 63 Disinvested: Characterized by the withdrawal or withholding of essential investment, aid, GLOSSARY and resources.

Disinvestment: The conscious process of withdrawing or withholding essential Asset-based: An approach that recognizes and values the knowledge, skills, and lived investment, aid, and resources. experience of a group, neighborhood, organization, or community; and makes use of Diversity: The representation and incorporation of individual differences, including those existing strengths, resources, and potentials to achieve positive change. language, culture, and life experiences; and social differences, such as race, ethnicity, Backbone organization: An organization dedicated to coordinating the various class, gender and sexual identity, sexual orientation, country of origin, and ability status, aspects and collaborators involved in a collective impact initiative (Collaboration for as well as cultural, political, religious or other affiliations in all facets of an organization-- Impact, nd, http://www.collaborationforimpact.com/collective-impact/the-backbone- including composition, policy, and practice. organisation/). Ecosystem: A system or group of interconnected entities formed by their interaction Bidirectional: Operating in a way that is beneficial to each party involved. with and within their environment. Capacity building: Increasing the ability of an organization to perform, yield, and/or Equity: The eradication of barriers and the creation of opportunities for historically sustain itself. underrepresented populations to participate in organizations and on boards; to have Collective impact grantmaking: An approach that seeks to address complex social equal access to funding and resources; and to participate in quality and culturally problems by fostering collaboration across a wide variety of social sectors. It is based relevant programming. Equity also requires a level of cultural competency, or awareness on five key elements: (1) a shared understanding of the problem, a common agenda and sensitivity of one’s own cultural location; the recognition of cultural differences for change, and a joint approach to solving it through agreed upon actions; (2) and subject locations, and attitudes toward them; the appreciation of and respect for shared data collection, measurement, and analysis for alignment and accountability; different cultural practices, norms, values, and worldviews; and empathy and awareness (3) a plan of action that outlines and coordinates mutually reinforcing activities; in cross-cultural interactions. (4) open and continuous communication to build trust, assure mutual objectives, Embedded: Incorporated or rooted in a community so as to become an essential part or and create common motivation; and (5) a backbone organization to serve the component. convener coordinator for the initiative (Collaboration for Impact, nd, http://www. Endogenous: Derived from within or internal to a community. collaborationforimpact.com/collective-impact/). Eurocentric: Concentration on the superiority of Europe and its cultures, peoples, and Community: A social group whose members live in a specific location and often share heritages that results in the exclusion and marginalization of, and discrimination against, a common cultural and historical heritage. other groups and their contributions. Conscious: Fully aware and sensitive to a phenomenon. Extant: Currently in existence. Cultivate: To promote or improve the growth of something through attention and Foundation: A non-governmental entity—a nonprofit corporation or a charitable trust— direct effort. with a principal purpose of making grants to unrelated organizations, institutions, or Dichotomy: Division into two mutually exclusive, opposed, or contradictory groups. individuals for charitable purposes. There are two broad foundation types: private Discrimination: The unjust and prejudicial treatment of a group of persons based on foundations and grantmaking public charities. A private foundation obtains its money social categories including race, gender, religion, nationality, and sexual orientation. from a family, an individual, or a corporation. A grantmaking public charity (also known Disruptive philanthropy: A practice of conscious giving informed by an awareness as a public foundation), get its support from diverse sources, which may include of how traditional strategies of philanthropy exclude certain communities and foundations, individuals, and government agencies (Foundation Center, n.d.). organizations that do not meet privileged criteria, even if their inability to meet said Grassroots: Relevant to phenomena “on the ground” and to common, everyday people criteria is a result of historical neglect from both the public and private sector. and their existence.

64 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI REFERENCES AND APPENDICES 65 Inclusion: The conscious, intentional, and sustained engagement with diversity Racialized: Persons and groups constituted by the ongoing construction of racial meaning in an effort to increase awareness, knowledge, understanding, and ultimately that has particular, usually detrimental, effects. Such meanings vary based on time period, opportunities for populations that have historically been marginalized and excluded. and location. Those who are racialized tend to have a modal experience of marginalization, Individualism: The pursuit of individual over communal or collective interests. discrimination, structural and material lack, and diminished life chances. Initiative: An act, program, set of practices, etc. meant to set something in motion. Responsive grantmaking: A process in which grants are awarded in response to proposals that are received. Ostensibly, this means that the applicants, through their “ask,” drive what Innovation: Something novel or different; process by which changes in something is funded. A responsive grantmaker is one whose philosophy is to have grantees driving the established are introduced, especially by new methods, ideas. giving agenda, for the most part. This includes accepting unsolicited proposals as well as Infrastructure: The basic underlying structure and framework upon which an having flexible project designs, proposal formats, and reporting. Typically the foundation will organization is based. define to some extent what is to be addressed but allow significant latitude for how that issue Institutional barriers: Policies, practices, and processes embedded in an will be tackled (Alliance for Philanthropy and Social Investment, 2008). organization, entities, and services that result in the systematic exclusion and Scaling: The process of adjusting in amount or size based on the requirements of a given marginalization of certain groups of people. model. Mainstream: The principal or dominant tendency. Structural barriers: Obstacles that are inherent in a context or environment and that have a Normative standards: Forms of evaluation that are representative of dominant negative impact on circumstances and outcomes. Examples include: poor housing, insufficient understandings in society. income, inadequate education, and nonexistent public services. Organizational capacity: Knowledge, processes, and resources that nonprofits need Social justice: The equitable distribution of advantages and opportunities and of efforts to in order to meet their missions. Key capacities include include: leadership; mission, eradicate disadvantages within a society. vision and strategy; program design and delivery; staffing; volunteer management; Transformative funds/ transformative funding: A sum that allows an organization to develop fund development; financial management; marketing and communications; sustainable infrastructure--staffing, program research and development, outreach and technology; and strategic relationships. Capacity varies based on a range of factors engagement, marketing and communications, information technology, data collection and such as the organization’s size, lifecycle stage, program model, revenue. evaluation—for long-term viability and growth. Paternalistic: The principal or practice of intrusive and often condescending Wraparound services: All-inclusive, comprehensive, and holistic services that aim to maximize management or governance. the success and longevity of an organization. Philanthropic Redlining: A set of funding practices in which an organization’s size, racial or ethnic constitution, demographic served, artistic designation (e.g., “high art” or “community art”), and/or geospatial location results in: (a) exclusion from funding altogether, (b) grants that are substantially lower than comparable organizations; and/or (c) forms of funding that discourage capacity building. Place-based grantmaking: A process that focuses resources within a specific geographic area (as compact as a neighborhood or as large as a region) to foster long-term, sustainable change. There are several characteristics of such initiatives: use of backbone organizations; intensive engagement of key stakeholders (including community members, who are co-creators of change); inclusion of a variety of partners across social sectors; use of local data in planning and decision-making; and a long-term commitment.

66 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI REFERENCES AND APPENDICES 67 PROJECT TEAM Charisse Burden-Stelly, PhD methods with critical theory to expose what Charisse received her PhD in African Diaspora history can offer about contemporary challenges Studies from the University of California, Berkeley. in Black schooling. She is currently the 2016-2017 Postdoctoral Research Associate in the Department of African- Beyond his historical research, Jarvis has American Studies at the University of Illinois also studied the educational experiences of at Urbana-Champaign. Her research interests Black students in Oakland, CA, since 2011. This include the 20th century Black radical tradition, ethnographic project first looked at Oakland’s African diaspora theory, neoliberal globalization, African American Male Achievement (AAMA) economic development, and global capitalism Initiative, then expanded to a larger study on and anti-blackness. schools that were identified as successful in supporting achievement amongst Black students. Her current research project traces the His research has been supported by two Ford ontological, epistemological, and structural Foundation Fellowships, and has been published foundations of antiradicalism/antiblackness in journals such as: Race Ethnicity and Education, between 1920-1980. She is also conducting Harvard Educational Review, Souls: A Journal research for a second manuscript on the statist of Black Politics, Culture, and Society and pedagogy of “Culturalism,” with a particular focus Anthropology and Education Quarterly. on Ghana, Tanzania, Trinidad and Tobago, and Jamaica—postcolonial societies organized around Elizabeth Burden, MS discourses of Blackness and Africanness. She Chief Executive and Creative Officer, seeks to explain the manner in which culturally Participation INK coded forms of anticolonial nationalism, in their Ellizabeth has been a consultant for 25 various guises as Marxist, African Socialist, Social years using creative processes to encourage Democratic, Non-Aligned gave way, eventually, visionary, disruptive, and radical thinking in both to globalized forms of Neoliberalism. Dr. Burden- informal groups and formal organizations. She Stelly’s research has appeared in journals provides consulting services in organizational including The CLR James Journal and Souls: A development, strategic planning, program Journal of Black Politics, Culture, and Society. planning and evaluation, curriculum development, and facilitation. She has extensive experience in Jarvis Givens, PhD grant writing and fund development, community Jarvis is a Dean’s Postdoctoral Fellow at the mapping and geospatial analysis, and media Harvard Graduate School of Education and relations and marketing. earned his PhD in African Diaspora Studies from the University of California, Berkeley. His Elizabeth is also an artist. Her installations research interests include: 19th and 20th Century feature conventional and non-conventional History of African American Education, Education media—painting, sculpture, video, digital media, and the African Diaspora, and Race and Urban mapping—to interpret and reinterpret history and Schooling. He is currently working on a book community stories. She engages in civic-practice that analyzes the relationship between Black art, which uses artistic processes to engage education, freedom, and affect through Carter G. individuals, communities, and institutions in using Woodson’s philosophy and influence on schools creativity to address social issues. during the Jim Crow period. More broadly, The common thread that runs through all her Givens’ work is concerned with the dialectical work is to look at old realities anew, to confront relationship between schooling and Black life in those realities, reflect upon them, shape them, the 19th and 20th century African Diaspora. The and transform them—whether through artistic hallmark of his research is combining historical practice or through community process, she believes we all can be catalysts for change.

68 TOWARD THE FUTURE OF ARTS PHILANTHROPY: THE DISRUPTIVE VISION OF MMI Charisse Burden-Stelly, PhD Jarvis Givens, PhD Elizabeth Burden, MS

Derron Hall MMI Director of Partnerships and Research, Project Advisor

Participation INK info@participationink. com t. 520.261.9076 901 N 13th Avenue, Suite 113 Tucson, AZ 85705