Competition Among Donor Advised Funds Is Constricting Charitable Giving

I am always interested in news about how donor advised funds (DAF) are operating. On the whole, their use hasn’t gone as intended and they have reduced, rather than increased or incentivized charitable giving.   A few weeks ago Vu Le linked to an article that examined how the differences in the way DAFs are promoted is an indicator of whether they are distributing or sequestering funds. (emphasis original)

National sponsors that spend more time talking about donor benefits on their websites have more assets, take in a much higher proportion of noncash contributions, and pay out grants at much lower rates than sponsors that spend more time talking about charitable giving.

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But our analysis predicts that a hypothetical national sponsor with a strong emphasis on charitable grantmaking on their website would pay out at 53 percent, while a hypothetical national sponsor with a strong emphasis on donor benefits would pay out at just 2 percent. And those lower payout rates have ripple effects when it comes to the buildup of assets: Our model predicts that the highly charity-focused sponsor would have assets of just $34 million, whereas the highly donor-focused sponsor would have assets of $2.7 billion.

Something to note is that the analysis focuses on national sponsors of DAFs rather than regional and local sponsors. The author of the piece, Helen Flannery, notes that since national sponsors tend not to have the specific focus, whether it be geographic region or cause, they often need to work harder to make a case for people to arrange their giving through them. Flannery seems to suggest that the those that tout financial benefits to the donor are able to make a more compelling case than a more charitably focused sponsor without a specific focus.

Flannery calls for a more specific evaluation and regulation of DAFs on an individual basis rather than looking at the aggregate giving of sponsors since the really generous ones tend to make the parsimonious ones look better due to averaging.

The analysis we present in our paper quantifies this phenomenon. It measures the degree to which sponsors have financialized what was originally intended to be a nonprofit instrument, and it measures just how intense the competition has become among the very largest DAF sponsors in this country.

Bad Enough Having Computers Making Hiring Decisions, Are Grants Awards Next?

A couple weeks ago Vu Le wrote about how useful AI can potentially be in the process of writing grants. So often granting organizations essentially ask for the same information, with some variation in what they want answered when and the word/character limits they have set for each response.

Given that grant awards can tend to favor organizations with the resources to employ a professional grant writer who knows how to employ terminology and language that funders seek, under resourced groups and those who are not comfortable or facile at employing the preferred vernacular could benefit from the use of AI.

Unfortunately, Le notes, some funders are using AI to detect if an organization is using AI to write their grants. Le writes:

“Grants are not college essays or news articles, where it matters who actually does the writing. Grants are a tedious mechanism for delivering answers about an organization and its work. AI just makes it less tedious. Punishing nonprofits for using AI is petty and paternalistic.”

He also says some funders are moving toward having AI evaluate the grant proposals which is even worse for a number of reasons.

“Funders who use AI to write grant RFPs, read proposals, eliminate applications, come up with a list of grant finalists, or whatever, should be aware that AI engines, which are mostly designed by white dudes, will likely favor white-coded proposals. It will be interesting to see the dynamics between AI-generated grant proposals and AI-supported grant review and selection. To keep it from reinforcing inequity, both funders and nonprofits need to be aware of biases that are built into these tools.”

For years there have been conversations about the job seeking process and how dispiriting it is to have a computer program evaluate your resume and cover letter before summarily rejecting those materials before a human ever gets to see them. Many have discovered how to game the system by using keywords in their materials, sometimes resulting in stilted or nonsensical content which nonetheless sees their application advance.

The grant application process is bad enough as it is without incentivizing cynical attempts to game the system. What would it say if an AI awarded a grant to an AI constructed application that no one ever seriously evaluated over an impassioned application written by a human? Should funding for homeless projects be determined solely by algorithms conversing with each other?

If funders are trying to detect grants written by AI out of concern about possible fraud, that is certainly valid. But that is also an indication that funding decisions should never be entirely made on the basis of polished prose. Vu Le suggests that just as AI can free applicants up to concentrate on delivering their core services, so too can it free funders up to focus on more directly interacting with those they fund to learn more about the work they do. Likewise, they can work on re-evaluating the criteria and processes they employ as part of their funding decisions.

There is an opportunity to double check the AI. Are its recommendations poor to middling in quality? Are those it rejects doing a better job than the AI indicates?  AI can certainly be useful in removing some of the subjectivity a person brings to information, but for every example of how it is better than humans, there are examples of gaps, some times so glaring a five year old would have avoided them that AI fails to fill.

Another Effort At Efficiently Crunching 990 Data

Thanks to the Non-Profit Law Blog’s weekly curated link list, I learned that there is a new collaborative working on a way to provide a clearinghouse for raw, clean, and standardized nonprofit tax data gathered from Form 990 filings.

While that may not sound like it is relevant to your daily life at all, being able to easily access that day will make researching non-profits much easier, hopefully resulting in data which will support better decision making.

Drew McManus painstakingly extracted data from 990 filings from 2005 to 2022 for his annual Orchestra Compensation Report project on Adaptistration. He would frequently grumble about the fact that the data was not available in a machine readable format that would make that data so much easier to process and shift through. If I recall correctly, his go to source was the Pro Publica Non Profit Explorer which is contributing their data to this new clearinghouse.

Having good data about things like compensation can help advance equity and inclusion goals. The Association of Performing Arts Professionals (APAP) is engaged in an Art Compensation Project for some of these very reasons.

Better data crunching capabilities can also facilitate the study of differences by region and discipline for revenues, expenses, impact of private vs. public & government based grant making, etc.

Given that there have been so many groups who have attempted to serve as a clearinghouse for 990 data, the biggest question perhaps is whether this new collaboration can make it work better than in the past.

Is Bottom Up Funding Of The Arts The Next Business Model?

There was another editorial about how the arts should be funded that is getting a lot of notice this week. You may recall I had posted about Isaac Butler’s editorial in the NY Times a couple weeks ago calling for greater public funding of the arts.  This week novelist, playwright and screenwriter Monica Byrne advocated for a bottom up funding model in the Washington Post.

She notes that the artists often get short shrift when it comes to attention and funding. When organizations get funded, it is often administrators and buildings which benefit before the artists do. She doesn’t specifically call for increased federal funding. Given that the culture wars of the 80s basically ended NEA funding of individual artists, that is probably a non-starter. Instead, she is advocating for the creation of works to be driven by artists who decide where to site their performances rather than the venue deciding what they want to do and then contracting artists.

For theater, as we know it, to have any future at all, a new economic model must take its place, founded on a simple principle: fund artists directly. Then let the artists produce their own work, rent their own venues and pay their own collaborators.

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It’s true that scaling down would mean prioritizing certain kinds of theater over others. But this is the case in every era: Some aesthetics thrive while others die out. Instead of a world in which you pay astronomical prices to see another tired revival from the mezzanine, imagine there are a dozen theater cells in your area, performing new work in backyards and parks and city squares and empty storefronts. Art that is fresh, fluid, immediate, accessible and affordable — to make and to see — all because we collectively decided to fund the artists directly.

Is there any place for existing nonprofit theaters in this model? Sure. Reshape them into direct granting agencies and public resources somewhat like libraries, offering artists and companies production slots on a lottery basis…It would also mean that existing artistic directors understand that, not only are they not the ordained curators of culture, they are only useful to the art form insofar they serve artists — the creators of the form.

Anyone have any thoughts on this? The idea of turning theaters into public resources like libraries is interesting on paper. If non-profits were in a place to provide advice and support about audience cultivation and marketing practices attuned to the local conditions, that could be a valuable resource. Though my concern would be that we might end up having the same conversations we currently are about funders having priorities that are out of synch with the changing needs of the operating environment. It may not start out that way, but I could see things creeping toward “arts need to be run like a business” as staff turned over, etc.