Innovative Support for Artistic Excellence

The Doris Duke Charitable Foundation and the Nonprofit Finance Fund announced the first 10 grantees of their new program, “Leading for the Future: Innovative Support for Artistic Excellence.”  These are not your typical, run-of-the-mill grants, though.  Each recipient is getting $1,000,000+ over five years, combined with extensive technical assistance.  This massive injection of support is intended to make a long-term impact on the organizations’ stability and sustainability, mainly through the development of new business ideas.

Here are the happy 10:

• Alvin Ailey Dance Foundation (New York, NY), to explore a new model of online patron engagement for its celebration of African-American heritage through modern dance.Center Theatre Group (Los Angeles, CA), to explore new subscription and producing models resonant with young audiences.
• Cunningham Dance Foundation (New York, NY), to transition to a post-founder legacy period as it furthers the work of legendary choreographer Merce Cunningham.
• Jacob’s Pillow Dance (Becket, MA), to extend its impact as the longest-running dance festival in the United States by using technology to become a national resource and model.
• Misnomer Dance Theater (New York, NY), to develop new relationships between technology and dance that build on its work as a pioneer in online expression and marketing. [NOTE: I'm on their Board!]
• National Black Arts Festival (Atlanta, GA), a year-round cultural celebration of the contributions of artists of African descent, to expand the audience online for the art and performance work of education pertaining to Africa and the African Diaspora.
• Ping Chong & Company (New York, NY), to explore a new financial model by franchising a community-organizing experimental theatre project.
• SITI Company (New York, NY), to establish this ensemble-based theatre company as a resident New York City organization with relevant partnerships and support.
• Steppenwolf Theatre Company (Chicago, IL), to explore new modes of producing and engaging young audiences, including partnerships with other arts groups and universities.
• The Wooster Group (New York, NY), to explore a new producing model, pursue partnerships, and take on a new educational role in contemporary theatre.

When I first heard about this program, I figured it must be a Ben Cameron initiative.  Ben is the new-ish Program Director for the Arts at Doris Duke, but he was previously the Executive Director of Theatre Communications Group.  In that capacity, he often spoke about the need for new funding models based on broad, risk-comfortable, multi-year support (i.e. as opposed to short-term, limited support for a specific project).

This quote from the Playbill article seems to confirm this theory:

“‘Business as usual’ is no longer an option for many nonprofit arts organizations, and standard funding practices give them little room to invest in bold and experimental solutions to economic challenges,” stated Ben Cameron, director for the arts for the Doris Duke Charitable Foundation. “We in the funding community must be willing to take risks to test new ideas — especially when the road gets rough — in order to secure a vibrant, sustainable future for the organizations we support.”