Backstage.com has a nice article called “Green Strings: Should Arts Donors Make Demands?” about the struggle between engaging contributors in the mission of an organization, and handing over the keys.
One featured struggle is the pending lawsuit against the Metropolitan Opera by representatives of the late Sybil B. Harrington (covered in the Financial Times, and elsewhere). Apart from an alleged misreporting of funds, the representatives suggest that the money was spent in violation of Ms. Harrington’s wishes. Here’s how the Associate Press tells it:
While it’s easy to get all curmudgeonly about the donors and their meddling (sounds like a line from Scooby Doo), it’s hard to argue that an individual shouldn’t have some input on how their money is spent. The problem is more one of granularity…how specific can a donor’s limits be before they actually inhibit the expressiveness of the organization (and therefore, the fulfillment of the donor’s original intent)? It’s a complex and nuanced dance to manage, since both sides have to REALLY listen to the other and explore their mutual interests and needs.
The process of major gifts almost requires more counselors than lawyers. Just imagine how such a session might have gone for our unhappy couple above:
Harrington: Since I was a child, I’ve always loved the traditional opera. I want to be sure my gift offers others that same experience I found. So, I only want to fund ‘traditional opera’.
Counselor: Metropolitan Opera, how does that make you feel?
Metropolitan Opera: I’m grateful, and yet uneasy. We have so many cooks in the kitchen as it is.
Counselor: Ms. Harrington, do you hear how your restrictions are causing unease? Do you have a comment on that?
Harrington: Frankly, it makes me angry. I don’t think I’m asking so much.
Counselor: Let’s explore what you’re asking for, then. You said you want others to have the same profound experiences you had with traditional opera productions. Is that right?
Harrington: Yes.
Counselor: Can you see a possibility that future audiences, say 50 years from now, might have a different view of what ‘traditional’ means?
Harrington: I suppose so.
Metropolitan Opera: What if we focused your contribution, instead, on the full season of performances? Then we’d have the widest opportunity to provide future patrons with those profound experiences, but we don’t have to define the type of production that will lead them there.
Harrington: Perhaps. But I don’t want to fund any backdrops of large transparent triangles that meet at the rear and change color. I’ve always been afraid of triangles, especially ones that change color.
Metropolitan Opera: We can live with that.
Counselor: You should both be very proud of this open discussion. Now, let’s talk more about triangles…
Okay, it’s a stupid dialogue; I never claimed to be a playwright. But, in a world where such transactions feature more lawyers than family counselors, such open, frank, and responsive discussions will continue to be hard to foster.
