paradigm shift in history of philanthropy
by ann dunn

An important innovation in the world of philanthropy is taking place, and three women-led non-profits are responsible.

I speak of a unique coalition that has recently formed right here in Western North Carolina. There has not been such a radical experiment in the creation and dispersion of funds for public good since the surge of civic, church and private patronage in the 15th century Italian Renaissance, or The Great Society’s creation of public endowments for art, science, education, health, and societal well-being, or the United Way and Community Foundation attempts to bring together under one umbrella the various needs of a specific region.

These are big claims. Who, what, where, when and how?

The models I mention above have performed wonderful and important work in our world. They have accepted the responsibility of the able for the unable. They have selflessly addressed the needs of society and stepped up to the plate, or forced others to step up to the plate. They have had a vision of a better world, and acted to help create such a world. But if you look closely at them you will see that they share two interesting characteristics:

1) In every case there is hierarchy. At the top there is a person or collective with resources. At the bottom there are people or organizations who need resources to survive and perform their function (healing, creating, feeding and clothing). Where there is hierarchy, there are assumptions about worth and dignity—there is begging. Hierarchy is linear.

2) In every case there is division. The things funded are separated into categories (and often, I daresay, prioritized). One person or group funds the arts. Another person or group supports health issues, etc. Even within a collective such as United Way there are specifically delineated areas of community need. Where there is division, there is competition. Division involves edges between things.

Every paradigm change is born out of challenge, involves a shift in the way we see, and produces a solution so simple as to be obvious. When we see it we cry, with Archemides in his bath, “Eureka!”

The challenges in our world today are obvious. There has been no big church money for a long time. Even the big corporations (which I think of as the new version of the Renaissance Church and Guilds) are tightening the purse strings. As they outsource they lose connection with, and therefore responsibility for, their community. There is no more government money. The current, aging generation of philanthropists is well-educated in world history and culture, and thus understands and accepts responsibility for the various needs of that culture. Can we be sure the next generation of potential philanthropists is receiving a similar education, and will feel similar responsibility? The gap between rich and poor widens. And, even were the few inclined, their pool of resources is no match for the thirst of the many. I could go on and on describing this dismal picture, but enough hand-wringing.

My personal path to change involved disgust with process. Although I have continuously tried to help fellow artists by serving on the Boards of individual arts organizations and the collective Arts Council, I long ago stopped writing grants for my own organization, for two reasons. First, the process put me in the position of having to prove, over and over again, that what I was doing was worthy of support. And second, because of always-limited resources, the process put me in the position of having to prove that my activity was more worthy of support than someone else’s. I don’t like begging or competition. I know perfectly well that what I do in the arts is essential and is equally as essential as health care or housing.

My “Eureka” moment came one very early morning last March when an opportunity presented itself to participate in a fund-raiser with the McCartney family’s foundation, formed in commemoration of Linda McCartney to support early detection of breast cancer. In an instant, there was a shift in the way I saw my own challenges, and the solution was so simple as to be obvious. Instead of asking “Why” a ballet company and breast cancer foundation would partner, I asked, “Why not?” And in the words of the great hymn, the walls came a-tumblin’ down. The possibilities seemed limitless.

Instead of living with the linear, divisive, top-down model of fund-raising, why not put together a coalition that involves interlocking circles of organizations with different purposes, in which no one group is privileged over another, the intent of which is to generate funds, from the bottom-up, for each of their worthy and necessary programs—equally?

Meet The McCartney Project: Enduring Ties (Andie MacDowell, honorary chair)—a collaborative effort by four very diverse organizations with different passions, come together to raise awareness and funds to support early detection of breast cancer and programs that save and enrich lives in our own community.

The four non-profit corporations are: Linda McCartney’s Garland Appeal USA, (breast cancer early detection garlandappealusa.com), Casting For Recovery (fly fishing retreats, in harmony with nature, for cancer survivors: castingforrecovery.org), Little Pearls (creation and dissemination of media that matters to people who matter, through “tiny” films that open hearts and minds: littlepearls.org), and the Asheville Ballet (cultural programming and outreach to under-served children and children affected by cancer: ashevilleballet.com).

Now meet the four dynamic local women who are generating all the excitement: Starr Nolan from CFR, Debra Roberts and Linda McLean from LP, and (blush) Ann Dunn from AB. We women have crossed traditional boundaries to join forces so that we can create an organization that represents the characteristics of a whole human being, in community, in the universe. Among us we address the physical, spiritual, cultural and environmental needs of a healthy human organism. And we are generating, from the ground up, the funds to nurture this organism, by creating an event that will involve, and appeal to, people and organizations of many different stripes.

Every Friday morning since last Spring we have met in my home for breakfast and planning. Ideas spark off of each other faster than a firecracker display. Laughter is as prevalent as serious discussion. Empathy and generosity of spirit have prevailed in every instance of dissimilar world-views. Most of all, we have had fun. Who knew that raising money could be such a joy?

I do not suggest that this new model replace the old ones that are doing such good work in the world (government, corporate, foundation and private patronage). I do suggest that the concept at its heart—collaboration of non-profits at the grass-roots level, across traditional boundaries, to help each other help themselves and us all—should be embraced as part of the whole philanthropy picture.

ANN DUNN is a poet, free-lance writer, teacher, and director of The Asheville Ballet, AnnDunnDANCErs, and Fletcher School of Dance. She has received over $100,000 in grants and awards, has published numerous articles on dance history and appreciation, holds a BS in Shakespearian Studies, a Masters in Liberal Arts, and did her Ph.D. work in Shakespearian Studies with a minor in the Italian Renaissance. She teaches Humanities at UNCA. Her two volumes of poetry, “Olde Women” (winner of The William Blake Award) and “Broken Pearls” are available from Urthona Press.

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