Strong Opposition To Warehousing Charitable Funding In DAFs

by:

Joe Patti

A few weeks ago, I wrote a post about how donor advised funds (DAF) had surpassed charities like the United Way as recipients of charitable giving.  I noted this is a problem because unlike foundations and other grant making institutions, DAFs have no obligation to disburse the funds they hold. The donors get the tax benefit, but the funds are not being employed for a charitable purpose.

The good folks at the Non-Profit Law blog recently shared a link to a June 2022 Ipsos poll showing public sentiment is against such arrangements. Not only do they feel DAFs should be required to distribute the funds they hold, they feel foundations should be required to distribute twice the amount they are currently.

  • With more than $1.2 trillion in charitable contributions currently sitting on the sidelines, 69 percent of adults surveyed support a 10 percent payout requirement for foundations (up from the current 5 percent) and for DAFs (which currently have no payout requirement), even if this reduces the amount of money in foundations and DAFs in the future.
  • 73 percent support requiring DAFs to make grants within 2 to 5 years of receiving donations.

The biggest impediment to generating general will toward making these changes is lack of knowledge about the situation. Of those surveyed, only 17% were aware that the tax code is structured to allow tax exemptions for charitable giving while allowing so little to be distributed to non-profit entities. Once people become aware of this information, there is bi-partisan support to make changes that will see non-profits receive a greater amount of funds sooner.

Specifically, respondents across the political spectrum expressed a strong discomfort with taxpayer subsidies allowing donors to set up perpetual foundations, with conservatives objecting to such subsidies even more strongly than liberals. What is more, both liberals (74 percent) and conservatives (70 percent) favor increasing foundation and DAF payouts to 10 percent, even if it would reduce foundation assets in the future.

Finally, Some Details About Artistic Practice Informing Scientific Genius

by:

Joe Patti

We often hear about how scientific geniuses had an arts related hobby that contributed to their process, (Einstein and his violin are mentioned a lot), but we rarely get any detailed insight into how that artistic element factored in. Thanks to Arts & Letters Daily, I came across an article in Quanta Magazine about June Huh who had dropped out of high school to become a poet and just recently received the Fields Medal for his work in mathematics.

I will just say from the outset that poetry doesn’t figure heavily into his current practice. He admitted that he like the idea of being known as a famous poet, but wasn’t too excited about the process of writing famous poetry.  Just the same, as a youth, he was terrible at math and cheated outrageously on all the math work his father gave him.

Ultimately though, the interest in poetry has informed his work in mathematics:

That poetic detour has since proved crucial to his mathematical breakthroughs. His artistry, according to his colleagues, is evident in the way he uncovers those just-right objects at the center of his work, and in the way he seeks a deeper significance in everything he does. “Mathematicians are a lot like artists in that really we’re looking for beauty,” said Federico Ardila-Mantilla,…

“When I found out that he came to mathematics after poetry, I’m like, OK, this makes sense to me,” Ardila added.

He has a strict schedule of devoting three hours a day to focused work. However, he finds he can’t dictate the subject he will focus on:

To hear him tell it, he doesn’t usually have much control over what he decides to focus on in those three hours. For a few months in the spring of 2019, all he did was read. He felt an urge to revisit books he’d first encountered when he was younger — including Meditations by the Roman emperor Marcus Aurelius and several novels by the German author Hermann Hesse — so that’s what he did. “Which means I didn’t do any work,” Huh said. “So that’s kind of a problem.”…

He finds that forcing himself to do something or defining a specific goal — even for something he enjoys — never works. It’s particularly difficult for him to move his attention from one thing to another. “I think intention and willpower … are highly overrated,” he said. “You rarely achieve anything with those things.”

Those last two sentences may provide a bit of insight and guidance. Advice to artists, especially writers, is to set aside a specific amount of time a day you will devote to your work. Instead of specific project, better advice might be to devote three hours to focused work without tying it to a specific project with the idea it may manifest in your work at a later date.

Reading the piece, it is clear that his mind operates differently than most people’s. Professors in his graduate program describe him as operating on such a high level, it was if he were a colleague rather than a graduate student. But another colleague said after talking to him about some simple calculus problems, he doubted Huh could pass a qualifying exam until he realized Huh was meticulously comprehending the fundamentals at a depth of understanding he would apply later.

The article is worth a read and is very engaging, if only to help get past attributing greater virtue to those who have reached a higher level of achievement. Huh clearly possess an immense intellect, but is also as flawed as anyone with some quirks he has had to overcome in order to be a good partner and parent.

Repeat Of Board Tensions In Chicago

by:

Joe Patti

If you hadn’t caught the news in the last week, there is a major crisis at Victory Gardens Theater in Chicago which saw the mass resignation of their current cohort of resident artists. This is a seeming repeat of similar tensions in 2020 between the theater’s board and artists which also saw the mass resignation of artists.  Subsequently, the playwright of the show in production, cullud wattah, pulled the rights to the show which had been set to close July 17, leaving the theatre without any remaining programming.

The greatest detail about the conflict is laid out in a post by isaac gomez, one of the members of the erstwhile cohort. He discusses the suspension of the Artistic Director and resignation of the Acting Managing Director whose tensions with the board came to a head when they were shut out of conversations about a major financial purchase (apparently the purchase of an adjacent building) which the directors strenuously objected.

There was also the issue of a prolonged negotiation with the candidate for the executive director position which had been unoccupied for two years .  The artist cohort learned that their input into the selection was not welcomed when they were accidentally invited to a meeting. The executive director candidate, whose hiring the artists were urging, subsequently withdrew herself from consideration at some point in all the tensions.

Overburdened due to absent leadership and unfilled positions, many of the theatre’s staff left their positions as well, much of it on the upper management level.

While gomez’s account is certainly only one side of the story, he reflects regret about the situation noting that Victory Gardens has stood by their commitment to provide a degree of stability for creative artists unseen in the broader industry. However, by not living up to written commitments about providing access and transparency in decision making, gomez and colleagues feel that the board has been unable to move beyond the toxic cycle which caused similar issues two years ago.

Dance As A Gateway Drug To Coding

by:

Joe Patti

Via Artsjournal.com was a Chalkbeat story about DanceLogic, a program in Philadelphia “designed to educate, inspire, and cultivate girls of color in STEM.”

 

The premise: Both coding and dance use repetition and combination, so using dance as a hook to attract girls to the program could lead to an interest in coding.

[…]

Each Saturday, the girls participate in dance class from noon to 1:20 p.m., take a short break, and then go into coding class until 2:30 p.m. Sessions run from October through June, culminating with a performance at the annual West Park Arts Fest.

[…]

For example, she said, the class developed a dance score using coding language to note choreography. “In the future, I hope to expand on this with the girls and see how it progresses with their understanding of both worlds,” she said.

The program has had some indirect, though semi-predictable result such as participants finding their math classes easier understand. There were other beneficial outcomes which illustrate the value of arts based education, but don’t fit neatly into grant applications because they need to be the result of organic decisions by the participants.

Students have shown an eagerness to take charge of the choreography and exchange ideas about what the dances should be. Bridgers said she’s seen many of the girls who participate develop into strong leaders and mentors. “We make a space for these young women to expand their agency and autonomy in the field of STEM,” she said.

One danceLogic student even developed her own coding curriculum and taught younger children in her neighborhood library, said Lindley. DanceLogic also hired the student when the pandemic forced a switch to virtual learning, charging her with designing and implementing a virtual video-game design class for children, Lindley said.

A student taking the initiative to teach coding to younger kids is a powerful testament to the influence of the DanceLogic program in her life. But you couldn’t have written a grant saying that X students would be inspired to start their own programs. (Unless it was a grant to train people to teach others, of course.)