Ethical Philanthropy and Sustainability in the Arts and Culture

Introduction

Philanthropy - and private giving and investment - has historically had an important place within the arts and cultural sector, and it continues to play a vital role in the current environment. One of the ongoing debates within the sector concerns the ethical questions surrounding fundraising. This piece will discuss some of the considerations and attempt to address different sides of the debate surrounding ethics in philanthropy, and then will discuss some examples of green philanthropy and sustainability already taking place within the arts and culture sector and how this relates to questions of sustainability in fundraising. It will also attempt to present some of the literature surrounding ethics and philanthropy, and some of the nuanced debates that exist within this field. The focus of the piece will be on UK and European institutions, and, specifically, on theatres. Using ample literature, this piece supports the importance of understanding ethics and philanthropy in the arts and cultural sector and offers potential solutions for relevant issues in concerned institutions.

Green philanthropy and assessing the ethical debate

When discussing green philanthropy, the term commonly refers to philanthropic efforts directed toward initiatives addressing climate change or charities focused on sustainability. Following Mercer (2007, p.96), sustainability can be generally understood as:

”A transition from the current society to one that is more in balance with nature. In an idealised UK, energy consumption would be driven by clean fuels that emitted minimal greenhouse gases and other pollutants; the use of natural resources would be managed so that ecosystems and biodiversity remained in a healthy state; and widespread recycling systems would simultaneously reduce our need for natural resources and the generation of waste".

This report was the initial overview of New Philanthropy Capital of the role of charities across the environmental landscape (Mercer 2007). In the context of ethics and philanthropy, however, the focus is rather on what might be termed green philanthropy, which will be understood as sustainable philanthropy within the arts and cultural sector.

Figure 1: Olichon, Adrien. (2020). Brown Chairs in Front of White Wall. https://www.pexels.com/photo/brown-chairs-in-front-of-white-wall-3709370/

Understanding the relationship between philanthropy, sustainability, and ethics is fundamental to the cultural sector. Gunson (2022a, p. 14) emphasises the importance of knowledge in this field:

“Knowledge about climate awareness; knowledge of how climate change affects multiple areas of philanthropic work, not just the environment specifically; and knowledge about how green philanthropy will fit within the ethos of the funder, as well as simply being a good thing for its own sake”.

For the arts and cultural sector, therefore, it is important to note how sustainability and debates surrounding climate change affect not only the environment, but those in wider sectors working in this area, and how this will fit within a fundraising strategy. In this sense, “If such knowledge becomes more widespread and is utilised, then charities and the private sector can use their innovation and influence to move and inspire both governments and the world at large to act" (Gunson, 2022a, p. 14). This applies across private philanthropy —including in the arts and cultural sector.

These actions can include ethical fundraising, philanthropy undertaken in a sustainable way, and efforts at moving the cultural sector towards a more sustainable model. The subject of ethics and funding is a contentious arena whose relevance is deeply contemporary considering how it relates to current debates surrounding both climate change and sources of arts funding. Key questions need to be asked of organisations in the cultural sector. These can include what their values are, to what extent they align with the funder while considering actual needs for the requested amount, acknowledging possible compromises over their ethical position, and what red lines exist regarding areas they will not take funding from under any circumstances.

Academic literature

There has been a focus on philanthropy and the environment for a number of years (Mercer, 2007; Roeyer, Desanlis, and Cracknell, 2021; Smit 2017). There is also a wide body of literature emerging on philanthropy and the arts (Alexander, 2014; Arts, 2002; Mermiri, 2010; Radbourne and Watkins, 2015; Schanke 2007; Schiuma 2011; Upchurch 2016; Wu 2002; Wyszomirski 1987). There are also questions raised by several authors on the moral questions surrounding philanthropy (Adrian, Phelps, and Gatte 2013; Eger, Miller and Scarles 2019; Collins et al, 2018; Harvey, Gordon, and Maclean, 2021; Illingworth, Pogge, and Wenar, 2011; Kim, Lethem, and Lee, 2017; Koehn and Ueng, 2010). The question then moves to the ethical dimension. This can be through looking to the ethics of ancient philosophers such as Aristotle’s Nicomachean Ethics, Cicero’s De Officiis, and Seneca’s De Beneficiis (White, 2017). MacQuillin (2023), however, observed that little attention has been given to the ethics of fundraising, and provided a review of the field of normative ethics in fundraising; that is, how fundraising might be practised and from which one can draw out applied ethics though reviewing ethical theories. This is observable in the relatively minimal amount of academic literature surrounding the subject. There is, nonetheless, a growing body of literature on this area (Breeze, Lafferty, and Wiepking, 2023; MacQuillin, 2021; MacQuillin, 2023a; 2023b; MacQuillin and Sargeant, 2019; O’Neill 2023; Pettey 2013), and likewise on this in the context of the arts (Colville, 2022; Finley, 2011; Frasz, 2015). There has, therefore, been a large amount of interest in ethical fundraising from a more practical perspective. This includes a significant number of guides towards ethical fundraising models within the sector.

Eger, Miller and Scarles (2019) note the importance of acknowledging ethical subjectivity within the debate surrounding corporate philanthropy. Using the example of tour operators, it is observed how the altruistic intentions of tour operators and the strategic concerns of the companies are re-negotiated. These are areas such as enhancing the experience of the customer, the reputation of the brand, and the goodwill of the community. Trust is of key importance in this decision-making process.

As Adrian, Phelps and Gatte (2013, p. 88) comment, whilst “managers may see philanthropy as a way to meet minimum, intangible obligations to society” and “risk management and insurance theory emphasizes goods of second intent, thereby encouraging an instrumental mode of reasoning”. As such, “ethical behavior is about the choices we make (not the donations we give)".

Figure 2: Taylor, Isaac. (2019). Grayscale Photography Of Chairs In An Auditorium. https://www.pexels.com/photo/grayscale-photography-of-chairs-in-an-auditorium-2305084/

Harvey, Gordon, and Maclean (2021, p.45) state that:

“Elite philanthropy is heavily implicated in justifying extreme inequalities, within and between nations, because it is through the persuasive use of ethically charged language that toleration of the status quo is increased. Elite philanthropists are the white knights of capitalism and vocabularies of motivations instrumental in the weaponization of philanthropy”.

Whilst arguing that the effect of entrepreneurial philanthropy “is to wrongfoot opposition to domination by further elevating the status of the wealthy”, as opposed to customary philanthropists who “speak of generosity and solidarity with disadvantaged individuals and communities", it is nonetheless stated that whilst “customary philanthropists express a duty of care to communities and valued institutions", they still “accept inequalities of income and wealth as a natural and even desirable outcome of economic forces, but that duty demands that the wealthy exhibit an adequate concern and beneficence toward others” (Harvey, Gordon, and Maclean, 2021, p.46). Indeed, Theodossopoulos (2016) raises an interesting question and distinction between philanthropy and solidarity.

These perspectives paint a problematic view of philanthropy, and much literature takes this perspective, and there is as such a tension within the sector, where philanthropy and fundraising are necessary, and yet the ethical lines surrounding it can be blurred.

Figure 3: Sorenson, Josh. (2011). Worm View of Brown Wooden Stairs. https://www.pexels.com/photo/worm-view-of-brown-wooden-stairs-154150/

It would be wrong, however, to assume this is solely a cause of the political left. The philosopher Roger Scruton, for example, was an advocate for the environment (Scruton 2012), and there is a strong case that preservation of natural heritage and conserving one’s environment is just as much a conservative as a left-wing cause. Indeed, the entire principle of ‘conserving’ is arguably, by its very nature, one which looks back as well as forward, one which seeks to preserve something of importance for the next generation. This is arguably the antithesis of what might be dubbed ‘progress’.

Indeed, there has been a strong tradition of self-help within the American tradition, for example, American philanthropic foundations, sometimes encouraging individuals and communities’ self-reliance and social autonomy through their gifts, emancipating them, and encouraging them to be productive and enterprising (Nally and Taylor, 2015). Nally and Taylor (2015) further argue that this was in part to contain the threat of revolution from without and shows that the Green Revolution has a long history.

In this sense, green philanthropy is perhaps an area which transcends a political divide, with an interest from a wide variety of perspectives in utilising fundraising and philanthropy as a means towards sustainability and protecting the environment.

Examples of ethical and sustainable arts and cultural initiatives

There have been a wide variety of initiatives aimed at sustainability within the arts and cultural sector. This section aims to outline case studies that offer positive examples and potential pathways forward.

Figure 4: Swiffen, Arthur. (2023). Crane over Royal National Theatre in London, England. https://www.pexels.com/photo/crane-over-royal-national-theatre-in-london-england-17211520/

The Theatre Green Book (Renew Culture, 2021) was one such initiative, providing what is described as “a complete method for environmentally sustainable theatre” (Renew Culture, 2021, p. 5). This framework has been used by numerous organisations, and impact evaluation reports produced by these organisations which outline the successes and space for improvement in their endeavours. The Theatre Green Book is aimed across the theatre sector for work of any kind or at any scale, from everyone including freelancers, companies, theatres, and schools, and utilises theatre-makers and environmental sustainability experts to provide practical experience and a reliable methodology (Renew Culture, 2021). This includes a framework to plan sustainability, best practice guidance, three standards for net zero and the path towards it, and a measurement system so that progress can be measured based on this (Renew Culture, 2021). Further, the Chartered Institute of Fundraising (2020) released a toolkit that provides practical tips and guidance on raising the issue of the environment in a charity and in the professional lives of fundraisers. The Arts Council England has also made sustainability a core part of its plan and model (Arts Council England, 2024a; 2024b; Arts Council England & Julie’s Bicycle 2024).

The example of the Theatre Green Book has been proactively taken up by multiple organisations who have produced impact evaluation reports (Chichester Festival Theatre, 2024; Dierker, 2024; National Theatre, 2024a; b; c; Nottingham Playhouse, 2024; Price, 2024; Tubman 2024). The findings are what might be expected, but are nonetheless indicative, given they largely follow a similar pattern and show similar trends. In these instances of the theatre, efforts towards sustainability included, for example, using renewable materials in set and costumes, reusing old materials where possible, and avoiding excessive travel and —where this was necessary— using electric vehicles and car shares. These do not, on paper, seem especially radical ideas nor particularly difficult to implement —but so often the drive towards them is about committing to making an effort to do so, having a strategy, and working together as a team and in policy making.

The comparison between the Theatre Green Book's policies and those analysed in several other reports on sustainability in the arts clearly reveals an alignment of perspectives and methodologies (Julie’s Bicycle, 2007; 2014a; 2014b; 2018; 2019; Powerful Thinking, 2015; 2020; Rushfield, 2021; World Cities Culture Forum 2017). Gunson (2022a) likewise notes the importance of climate awareness within a foundation, and this does not only mean climate foundations, but also foundations should have that element (Thompson, 2021). Indeed, if viewed across Europe, 46 theatres of the European Theatre Convention have agreed to reduce their carbon emissions to at least net zero by 2030 (Jowett, 2021). Gunson (2022b, p. 43), when considering the toolkit of the Chartered Institute of Fundraising, draws the conclusion that “from reading the toolkit, is that the way that the charity and fundraising sectors can best make change, is by leading by example and demonstrating the leading role that charities can have in achieving sustainable practice.” There is, therefore, an intersection between green philanthropy, ethics, and sustainability, in that if a cultural organisation has an ambition or target for sustainability then this will relate to and impact their fundraising strategies —the fundraising strategy must adhere to their overall ethos, and vice versa.

Figure 5: Chistyakova, Polina. (2023). Facade of the Royal National Theatre in London, England. https://www.pexels.com/photo/facade-of-the-royal-national-theatre-in-london-england-17244124/

One of the key challenges is that this is a balancing act between the need for funding and the ethical dimensions involved (Cooney 2021). This is a familiar debate for those in the cultural sector. Attempting to navigate the funding landscape and stay afloat financially whilst at the same time considering the ethical questions and maintaining the aims surrounding sustainability will continue to be a balancing act for cultural organisations.

Concluding thoughts

This article has attempted to outline some of the debates over the ethics surrounding philanthropy, sustainability in the arts, and green philanthropy in the cultural sector. It has addressed different practical considerations when considering ethical fundraising and what this might look like, and then discussed a number of examples of what this might look like in practice. Eger, Miller and Scarles (2019, p. 150) comment that “trust enters the moral realm of philanthropy providing a nexus between moral expectations, stakeholder engagement and issues of power.” The ethics of fundraising has been debated for many years, and this does not seem likely to change. It is important, however, to take these ideas into consideration when developing a fundraising strategy.

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Visual References