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Tracking Distributions from the 9/11 Relief Funds
CONTRIBUTING STAFF Rick Schoff Senior Vice President for Information Resources and Publishing Steven Lawrence Director of Research Mirek Drozdzowski Special Projects Associate Mark Carway Programmer Aamir Cheema Editorial Assistant Janie Wong Project Assistant Bruce Thongsack Editorial Associate Cheryl Loe Director of Communications Christine Innamorato Production Coordinator, Publications ACKNOWLEDGMENTS This report owes much to the 111 relief and recovery funds, listed on page 27, that responded to our survey of 9/11- related charities. Their involvement provided important insights into the process and challenges involved in the delivery of immediate disaster relief and long-term assistance. Special thanks are also due to the many 9/11 relief funds that submitted detailed information to the Foundation Center regarding their grants and beneficiaries as well as their plans for distributing unspent funds. PHILANTHROPY’S RESPONSE TO 9/11 PROJECT The Foundation Center is documenting private philanthropy’s response to the September 11 terrorist attacks. Using our experience in collecting and analyzing giving data, we are constructing a comprehensive picture of giving by foundations and corporations in the aftermath of 9/11, as well as tracking contributions by intermediaries and direct-service providers. We are also presenting news and in-depth interviews concerning the philanthropic response to 9/11 in the Foundation Center’s online journal, Philanthropy News Digest. Some of these have been reproduced in September 11: Perspectives from the Field of Philanthropy. To access all of the Foundation Center’s 9/11-related reports and other resources, visit www.fdncenter.org/research/911. We are grateful to the following for their support of this project: the California Endowment, Carnegie Corporation of New York, Annie E. -
A Report from Project Streamline Grants Managers Network
A report from Project Streamline a collaborative initiative of the Grants Managers Network In partnership with Association of Fundraising Professionals Association of Small Foundations Council on Foundations Forum of Regional Associations of Grantmakers Foundation Center Grantmakers for Effective Organizations National Council of Nonprofit Associations Report written by Jessica Bearman, Bearman Consulting Project design and research conducted by Intersector Consulting (Kristin Lindsey and Jessica Bearman) Additional data and analysis provided by the Center for Effective Philanthropy THIS PROJECT WOULD NOT HAVE BEEN POSSIBLE WITHOUT FUNDING FROM: The David and Lucile Packard Foundation Ford Foundation Frey Foundation Harold K. L. Castle Foundation Kansas Health Foundation The Kresge Foundation The McKnight Foundation Robert Wood Johnson Foundation Saint Luke’s Foundation WE WISH TO THANK REPORT REVIEWERS FOR THEIR ASTUTE FEEDBACK AND DIVERSE PERSPECTIVES: Joel Fleishman, Duke University Dahna Goldstein, PhilanTech, LLC. Jan Jaffe, GrantCraft Trisha Lester, North Carolina Center for Nonprofits Carol Lukas, Fieldstone Alliance Robin Platts, The Dresher Foundation Jennifer Ratay, The William and Flora Hewlett Foundation Marcia Sharp, Millennium Communications Group, Inc. Paul Shoemaker, Social Venture Partners Seattle NATIONAL ADVISORY COMMITTEE MEMBERS WHOSE LEADERSHIP HAS GUIDED THIS INITIATIVE: Richard Toth, Director, Office of Proposal Management, Robert Wood Johnson Foundation (Project Chair) Tonia Bain, Director of Special Projects, -
October 2020 New York City Center
NEW YORK CITY CENTER OCTOBER 2020 NEW YORK CITY CENTER SUPPORT CITY CENTER AND Page 9 DOUBLE YOUR IMPACT! OCTOBER 2020 3 Program Thanks to City Center Board Co-Chair Richard Witten and 9 City Center Turns the Lights Back On for the his wife and Board member Lisa, every contribution you 2020 Fall for Dance Festival by Reanne Rodrigues make to City Center from now until November 1 will be 30 Upcoming Events matched up to $100,000. Be a part of City Center’s historic moment as we turn the lights back on to bring you the first digitalFall for Dance Festival. Please consider making a donation today to help us expand opportunities for artists and get them back on stage where they belong. $200,000 hangs in the balance—give today to double your impact and ensure that City Center can continue to serve our artists and our beloved community for years to come. Page 9 Page 9 Page 30 donate now: text: become a member: Cover: Ballet Hispánico’s Shelby Colona; photo by Rachel Neville Photography NYCityCenter.org/ FallForDance NYCityCenter.org/ JOIN US ONLINE Donate to 443-21 Membership @NYCITYCENTER Ballet Hispánico performs 18+1 Excerpts; photo by Christopher Duggan Photography #FallForDance @NYCITYCENTER 2 ARLENE SHULER PRESIDENT & CEO NEW YORK STANFORD MAKISHI VP, PROGRAMMING CITY CENTER 2020 Wednesday, October 21, 2020 PROGRAM 1 BALLET HISPÁNICO Eduardo Vilaro, Artistic Director & CEO Ashley Bouder, Tiler Peck, and Brittany Pollack Ballet Hispánico 18+1 Excerpts Calvin Royal III New York Premiere Dormeshia Jamar Roberts Choreography by GUSTAVO RAMÍREZ -
Alvin Ailey American Dance Theater
DANCE ALVIN AILEY AMERICAN DANCE THEATER Gaillard Municipal Auditorium May 25 at 7:00pm; May 26 at 8:00pm; May 27 at 2:00pm Founder Alvin Ailey Artistic Director Emerita Judith Jamison Artistic Director Robert Battle Associate Artistic Director Masazumi Chaya Company Members Guillermo Asca Yannick Lebrun Kirven James Boyd Alicia Graf Mack Hope Boykin Michael Francis McBride Sean A. Carmon Rachael McLaren Sarah Daley Aisha Mitchell Ghrai DeVore Akua Noni Parker Antonio Douthit Briana Reed Belen Estrada Samuel Lee Roberts Renaldo Gardner Renee Robinson Vernard J. Gilmore Kelly Robotham Jacqueline Green Kanji Segawa Daniel Harder Glenn Allen Sims Demetia Hopkins Linda Celeste Sims Michael Jackson, Jr. Jermaine Terry Megan Jakel Marcus Jarrell Willis Guest Artist Matthew Rushing Executive Director Sharon Gersten Luckman The 2012 Dance Series is presented by BlueCross BlueShield of South Carolina. Additional support for the 2012 Dance Series is provided by The Harkness Foundation for Dance. Major funding for Alvin Ailey American Dance Theater is provided by the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, Bank of America, Bristol-Myers Squibb, Diageo, FedEx Corporation, Ford Foundation, The Hearst Foundations, J.P. Morgan, Prudential Financial, Inc., The Shubert Foundation, The Starr Foundation, Target, and Wells Fargo. Toyota Motor Sales U.S.A., Inc. is the Official Vehicle Partner of Alvin Ailey American Dance Theater. 36 DANCE ALVIN AILEY AMERICAN DANCE THEATER PROGRAM A May 25 at 7:00pm ARDEN COURT (1981) Choreography by Paul Taylor Music by William Boyce Restaged by Cathy McCann Buck Set and costumes by Gene Moore Lighting by Jennifer Tipton First performed by the Paul Taylor Dance Company in 1981 Dancers Linda Celeste Sims, Glenn Allen Sims, Antonio Douthit, Kirven James Boyd, Rachael McLaren, Alicia Graf Mack, Michael Francis McBride, Samuel Lee Roberts, Jermaine Terry Generous support for this Company premiere was provided by Harlan B. -
Norms and Narratives That Shape US Charitable and Philanthropic Giving Benjamin Soskis March 2021
CENTER ON NONPROFITS AND PHILANTHROPY RESEARCH REPORT Norms and Narratives That Shape US Charitable and Philanthropic Giving Benjamin Soskis March 2021 ABOUT THE URBAN INSTITUTE The nonprofit Urban Institute is a leading research organization dedicated to developing evidence-based insights that improve people’s lives and strengthen communities. For 50 years, Urban has been the trusted source for rigorous analysis of complex social and economic issues; strategic advice to policymakers, philanthropists, and practitioners; and new, promising ideas that expand opportunities for all. Our work inspires effective decisions that advance fairness and enhance the well-being of people and places. Copyright © March 2021. Urban Institute. Permission is granted for reproduction of this file, with attribution to the Urban Institute. Cover image by Tim Meko. Contents Acknowledgments iv Executive Summary v Norms and Narratives That Shape US Charitable and Philanthropic Giving 1 The Rise of Large-Scale Philanthropy 3 Narratives of Mass Giving’s Decline in the United States 9 Megaphilanthropy and Everyday Giving during the COVID-19 Crisis 13 The COVID-19 Crisis, Mutual Aid, and the Revitalization of Everyday Giving 16 The Surging Popularity of Cash Transfers during the COVID-19 Crisis 21 The Development of Norms around Time-Based Giving 26 Time-Based Norms and Narratives during the COVID-19 Crisis 32 Giving Norms and Narratives in a Postpandemic World 36 Notes 39 References 46 About the Author 49 Statement of Independence 50 Acknowledgments This report was funded by the Bill & Melinda Gates Foundation, with additional support from the William and Flora Hewlett Foundation. We are grateful to them and to all our funders, who make it possible for Urban to advance its mission. -
Annual.Foundationcenter.Org from OUR PRESIDENT
annual.foundationcenter.org FROM OUR PRESIDENT ow many times have you heard Foundation Center’s print directory became Landscape sites that focus on youth giving, the success of an organization Foundation Directory Online, the most widely the sustainable development goals, and the Hdescribed in terms of a bigger used database of foundations and their critical issues of our time. budget, more staff, or larger office space? grants in the world. Today’s Foundation Foundation Center’s evolution continues to As indicators, those all tell us something but Center is a global resource for trusted data, be a story of transparency, technology, and miss what is most critical. In a world of deep insight, and analysis of the many ways in talent. Our team, whether they be writing technological and societal transformation, as which, through philanthropy, private wealth computer code, teaching a class on proposal important as it may be for organizations to is contributing to the public good. writing, or designing a new website, is grow, it is essential that they evolve. The following pages describe how the key to our success. Philanthropy is an Foundation Center was born in 1956, in the Foundation Center evolved even further engine for positive social change worldwide wake of McCarthy era hearings investigating in 2016. In a historic milestone for our and at Foundation Center, we’re using the foundations for alleged support of un- organization, we fully launched a new latest data, technology, and analysis to help American activities. Conceived as a means database system that had been years in the those doing good be strategic. -
"11 Trends in Philanthropy for 2020" Report
11 TRENDS IN PHILANTHROPY FOR 2020 Anticipate and embrace what’s next. Our Contributors Kallie Bauer, M.B.A. Interim Director of the Community Data & Research Lab, Johnson Center for Philanthropy Teresa (Teri) Behrens, Ph.D. Executive Director, Johnson Center for Philanthropy Rachel Borashko Data Analyst, Johnson Center for Philanthropy Jamie DeLeeuw, Ph.D. Research Manager, Johnson Center for Philanthropy Patty Janes, Ph.D. Professor, Department of Hospitality and Tourism Management at Grand Valley State University, 2019–2020 Russell G. Mawby Fellow in Philanthropic Studies Tory Martin, M.A. Director of Communications & Engagement, Johnson Center for Philanthropy Michael Moody, Ph.D. Frey Foundation Chair for Family Philanthropy, Johnson Center for Philanthropy Juan Olivarez, Ph.D. Distinguished Scholar in Residence for Diversity, Equity, and Inclusion, Johnson Center for Philanthropy Adriana Paz, M.S.C.I.S. Senior Database Administrator, Johnson Center for Philanthropy Michael Pratt Project Manager, Johnson Center for Philanthropy Olivia Rau Graduate Assistant, Department of Hospitality and Tourism Management at Grand Valley State University Copyright © 2020 Dorothy A. Johnson Center for Philanthropy at Grand Valley State University. All rights reserved. To connect with the Dorothy A. Johnson Center for Philanthropy, write to [email protected] or call (616) 331-7585. Inside this report Data & Collabor- Increasing Mapping Tools Critiques ation & 1 Come Together to Empower 3 of (Big) Consolid- Community Decision-Making Philanthropy 2 ation -
Philanthropy New York, 2008
History of U.S. Philanthropy The word "philanthropy" derives from the Ancient Greek phrase philanthropia , meaning "to love people." Today, the concept of philanthropy includes the act of voluntary giving by individuals or groups to promote the common good. It also refers to the formal practice of grantmaking by foundations to nonprofit organizations. Cultural Origins in the U.S. Philanthropy in the Unites States has emerged from a number of cultural influences, such as: • Strong religious beliefs and traditions • Practices of collective hunting, food distribution and potlatches in Native American communities • Cultures of mutual assistance and support among multiple waves of settler and immigrant communities It wasn't until after the Civil war that the modern business of philanthropy began to form. Until then, charity was a mostly fragmented endeavor driven largely by religious groups and characterized by almsgiving and volunteerism aimed at assisting the immediate problems of the urban poor. Industrialization and the Rise of Modern Philanthropy. At the end of the 19th century, charities started taking a more systematic approach to the work of improving social conditions, and adopted management methods that were gaining a following in the business world. Modern grantmaking was founded on the large-scale donations of a number of individuals and families who made their wealth during the late 19th and early 20th centuries in the steel, oil, railroad, telegraph, and automobile industries (such as Sage, Carnegie, Rockefeller, and Ford). Democratization and Growth of the Field. American generosity and volunteerism was spurred again by World War I. During this time, Americans gave more then $400 million in gifts and membership dues to the Red Cross in connection with the war, signaling the growth of grassroots fundraising and the democratization of giving. -
Entrepreneurs' Transition to Philanthropy and the Vibrancy of Place
3. Local champions: entrepreneurs’ transition to philanthropy and the vibrancy of place* Maryann P. Feldman and Alexandra Graddy- Reed 3.1 INTRODUCTION Often the story of successful places is predicated on the story of an individ- ual who was instrumental in creating institutions and making connections that were transformative for a local economy. Certainly this is the case for Silicon Valley in California and Fred Terman, the Dean of Engineering at Stanford University, USA, who offered his garage to his students, Hewlett and Packard, and encouraged other start- ups. Or George Kozmetsky, the founder of Teledyne, who created the Institute for Innovation, Creativity and Capital (IC2) and mentored over 260 local computer companies in Austin, Texas. Any reading of the lives of these individuals highlights their connection to community and motivations beyond making profits. These individuals are ‘regional champions’ (Feldman and Zoller, 2012) – highly connected individuals who live and work in a region and take responsibil- ity for the stewardship of the place. This defines a class of individuals who have attachment to a community and who, through their actions, make a difference in the economic vibrancy and prosperity of a place. Driven by an attachment to a place, facilitated by a developed ability to perceive opportunity, and aided by a longer-term perspective, entrepreneurs are ideal agents for engaging the vibrancy of place. It also makes good busi- ness sense for regional champions as they expand their firms. Rather than unique individual stories, these actions appear to be fairly regular events, consistently making a difference in local economies. Many places attempt to create vibrant economies by following the rather simple recipe that involves a heavy dose of venture capital funding, research universities as a driving force, concentrations of skilled talent and an open culture – the factors associated with the current functioning of Silicon Valley. -
Campus Weekly UNCG Welcomes New Campus Leaders
Welcome to Campus Weekly UNCG welcomes new campus leaders UNC Greensboro welcomed five new leaders this summer to help guide the University through these challenging and uncertain times. Dr. Jim Coleman is the new provost and executive vice chancellor; Tina McEntire is vice chancellor for enrollment management; Bob Shea is vice chancellor for finance and administration; Dr. Maria Anastasiou is associate provost for international programs; and Juliette Bianco is director of the Weatherspoon Art Museum. Each leader brings a wealth of experience and passion to the UNCG community. Read more about what brought them to UNCG – and what they hope to accomplish – below. | 1 Dr. Jim Coleman Provost and Executive Vice Chancellor Provost Coleman never imagined himself being an administrator. In fact, as a young assistant professor of biology at Syracuse University, he often challenged the administration. “I thought our dean and provost walked around in suits and ties and tried to accumulate power and make our lives as miserable as possible,” he says now with a laugh. But a one-year stint at the National Science Foundation – in which he managed $10 million in research funding – changed everything. He realized he enjoyed facilitating the success of other people and of organizations. And he was good at it, too. Coleman has now worked in higher education administration for 24 years, most recently serving as provost at University of Arkansas. In many ways, he’s the perfect fit for UNCG. He’s passionate about the role of public education in propelling students up the socioeconomic ladder and on to profoundly meaningful and successful lives. -
Alvin Ailey American Dance Theater
Tuesday, April 21, 2015, 8pm Wednesday, April 22, 2015, 8pm Thursday, April 23, 2015, 8pm Friday, April 24, 2015, 8pm Saturday, April 25, 2015, 2pm & 8pm Sunday, April 26, 2015, 3pm Zellerbach Hall Alvin Ailey American Dance Theater Alvin Ailey, Founder Judith Jamison, Artistic Director Emerita Robert Battle, Artistic Director Masazumi Chaya, Associate Artistic Director The Company Hope Boykin Daniel Harder Akua Noni Parker Jeroboam Bozeman Jacquelin Harris Danica Paulos Sean A. Carmon Collin Heyward Belen Pereyra Elisa Clark Demetia Hopkins-Greene Jamar Roberts Sarah Daley Michael Jackson, Jr. Samuel Lee Roberts Ghrai DeVore Megan Jakel Kanji Segawa Antonio Douthit-Boyd Yannick Lebrun Glenn Allen Sims Kirven Douthit-Boyd Alicia Graf Mack Linda Celeste Sims Samantha Figgins Renaldo Maurice Jermaine Terry Vernard J. Gilmore Michael Francis McBride Fana Tesfagiorgis Jacqueline Green Rachael McLaren Marcus Jarrell Willis Matthew Rushing, Rehearsal Director and Guest Artist Bennett Rink, Executive Director Major funding for Alvin Ailey American Dance Theater is provided by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, BET Networks, Bloomberg, BNY Mellon, Diageo, FedEx Corporation, Ford Foundation, The Howard Gilman Foundation, The Hearst Foundations, Prudential Financial, Inc., The Shubert Foundation, Southern Company, Target, and Wells Fargo. These performances are made possible, in part, by Corporate Sponsor Mechanics Bank and Patron Sponsors Sheri and Paul Siegel. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 15 PROGRAM A Tuesday, April 21, 2015, 8pm Friday, April 24, 2015, 8pm Zellerbach Hall PROGRAM A ODETTA iNTERMiSSioN Bad Blood PAuSE Caught iNTERMiSSioN Revelations ODETTA (2014, Bay Area première) Choreography Matthew Rushing Assistants to the Choreographer Renee Robinson and Michael Jackson, Jr. -
New Dances Edition 2020–21
New Dances Edition 2020–21 Welcome to New Dances at Juilliard! After nearly a year of working through the pandemic, I have been reflecting on what I have learned as the dean and director of Juilliard Dance. First, and most obviously, I have learned that our dancers thrive on opportunities to move within the spaces in our building. The chance to be together, even in small groups, makes all the difference. The transference of energy from one artist to another has a cumulative effect, leading to an environment steeped in generosity and gratitude. Second, I am proud of how we, as a community, have problem-solved and found creative solutions despite the restrictions. In fact, the restrictions and challenges have amplified our innovative thinking. And last, this time has solidified my belief that we are an incredibly resilient group of artists who are going to seize the day, and live boldly in each moment. The work that I see unfolding at Juilliard is nothing short of remarkable. All of the works that you will see have been created in pods of no more than eight dancers. The choreographers have collaborated with the students both on Zoom and in-person, finding ways to generate movement without touching or partnering. Everyone from our Dance Division staff to our production team dedicated their energies to giving the dancers a meaningful learning and performance experience. In turn, the dancers gave their all. Seeing these performances, beautifully documented on film, reminds me of the power of dance and music to tell stories and communicate in the universal language of the soul.