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Topic: Black Lives Matter

  • Denisha Allen (Merriweather) on Why Black Minds Matter


    Philanthropy Roundtable recently sat down with Denisha Allen (Merriweather), founder of Black Minds Matter, a “national movement to celebrate Black minds, support excellence and promote the development of high-quality school options for Black students.” Allen, an American Federation for Children senior fellow, is a champion for school choice and a Florida tax-credit scholarship recipient. Through Black Minds Matter, she hopes to help provide access to an excellent education for every Black student. 

    The interview below has been edited for length and clarity.  

    Q: You founded Black Minds Matter, a project of the American Federation for Children Growth Fund (AFC), in 2020, a time when many Americans were seeking to address social injustices in our country. What led you to create this organization and what role does it serve? 

    Allen: I came to AFC after working at the U.S. Department of Education with Secretary DeVos. I worked with the Trump administration for two years, and then came to AFC as a director of Family Engagement. Then, in 2020, I wrote an op-ed in Real Clear Education about my frustrations in the aftermath of George Floyd’s murder. Our country was in civil unrest, maybe even the whole world was in civil unrest, and people were looking for ways to challenge racism. I wanted to bring attention to areas that would help Black America attain empowerment and excellence in all aspects of life. And, to me, that meant focusing on education. When I looked at the data, I saw that Black students are not reading on grade level or graduating from high school at the same rates as their white and Asian counterparts. I wanted to focus on changing that.  

    Unfortunately, at that moment in the national conversation, there was not a widespread initiative from the Black Lives Matter movement to talk about education and education reform. So, I coined the term Black Minds Matter to highlight that we need to focus on education freedom. We received a tremendous amount of support for what we stood for. And I’m proud that one of our first initiatives was to bring together a network of Black school founders. This was very personal for me because I went to a Black-founded school, and I benefited directly from the school choice movement.   

    Our mission is to nourish Black students with a rich education of their parents’ choice by any means necessary. Our goal is to expand our reach by engaging new audiences. This includes both Republican and Democratic elected officials, HBCU’s and our growing Black Founders Network. We are also committed to expanding our visibility through high quality content that can also be used to generate revenue for our work.  

    Lastly, we want to bring awareness about education freedom to the communities where Black students are most likely to be relegated to poor performing public schools. We have over 430 Black-founded schools in our online directory at www.BlackMindsMatter.net, and 150 Black school founders in our network. We were thrilled to have many of them in attendance at our second annual Black Minds Matter Summit in Washington, D.C., earlier this year.  

    Q: Can you tell us more about your personal connection to the work you are doing? 

    Allen: I went to a private school in Jacksonville, Florida, on scholarship from sixth grade onward. I failed the third grade twice because I couldn’t read. As you can imagine, I had very low self-esteem, and I was lashing out by starting physical fights. My life trajectory was going in the same direction as many of the people in my family who had all dropped out of school. When I switched schools, I went from getting F’s and D’s to getting straight A’s.  When I founded Black Minds Matter, I saw the opportunity to highlight Black-owned schools as a part of that narrative, since school choice had such a transformative impact on my own life. 

    Q: Your website says that nourishing Black minds with a rich education is the first step to breaking generational poverty and societal inequities. What do you mean by societal inequities, and how does education combat this problem? 

    Allen: In America, there’s a class issue and there are a race issues, and sometimes those issues get intermingled and intertwined. But, at the root of both of those conversations is our education system. And the data shows that Black and brown students are performing the worst academically in this country. Just to give you an example, the NWEA just came out with a new study that follows in the same vein as recent NAEP [The Nation’s Report Card] scores. They said students on the whole will need three to four months of additional schooling in order to catch up from recent learning loss.  

    Shockingly, they found Black students will need two additional months to catch up. So, you’re telling me that Black students will need five to six months of additional schooling to make up for learning loss. When the system is pumping out hundreds of thousands of Black students who can’t read or do math into society, they end up in the criminal justice system. We call it the school-to-prison-pipeline. That is a societal inequity. That’s a civil rights issue. Black kids are not able to read. We need to change that. 

    When we look at education in America, we need to ensure that no kid is relegated to poor performing or failing schools because of where they live. Students in poorer neighborhoods are not receiving the same education as students who are going to schools where almost 90% of parents own their homes. We can solve this socio-economic/racial problem if we can create a market where competition is going to create incentives that perform better for students. Education freedom allows parents to choose the best school for their child regardless of school type. I sit on the board for Step Up For Students in Florida – the largest school choice program in the country. In Florida, we’ve seen academic outcomes for students in traditional public schools increase with every expansion of the state’s scholarship program. That’s because everyone is competing for students.  

    Q: Our 2021 Simon-DeVos Prize Winner Bill Oberndorf, chairman of the board of the American Federation for Children, has called access to education the civil rights issue of our time. Do you agree, and if so, why is that the case? 

    Allen: I absolutely do. It is the civil rights issue of our time. One of the goals of Black Minds Matter is to help the public see that school choice and education freedom are a part of the longer struggle for freedom in the United States and have deep historical roots. The conversation has been led by policy folks for so long, which is important. But I really want to make it more approachable and accessible to everyone. When we talk about the history of freedom in America, it is inextricably tied to access to education, from slavery through the Antebellum period all the way up to today. The struggle has always been access to education.  

    One of the ways we are working to showcase the connection between freedom and education is by conducting exhibits that illustrate the extent to which slaves wanted to read. One part of our exhibit showcases findings from archaeologists who found “pit schools” or deep holes in the ground where they also found tablets and pencils for writing. The slaves understood that their freedom was rooted in the ability to read and write, and they risked their lives to try to attain those skills. I always like to say there is freedom of the body and also of the mind, and that has always been the goal of African Americans in this country. They have never been divorced from one another. 

    Q: The recent Supreme Court decision ending affirmative action in higher education could impact students throughout the country. How do you feel about this decision and why? 
     
    Allen: I think it’s going to be very obvious that we need better options for Black students, and this decision makes that clearer. Black kids are not reading on grade level and removing affirmative action in higher education means Black kids will have to perform even better academically to be accepted into colleges and universities.   

    Q: As you look ahead, what are you most excited about for Black Minds Matter? 

    Allen: I’m always very excited about the Black School Founders network. They are amazing, so to be able to support them and champion the work they do for students is very rewarding. Many of them have models that are worthy of replication. We are going to focus on capacity building and finding ways to support them. I’m also very excited to get more involved in states and districts with the worst academic and life outcomes for Black and brown students, and to advocate for better outcomes in the lowest performing districts in the country. For example, I get excited when I think about a city like Baltimore, where reading and math levels are abysmal. The creation of education savings accounts in that city will help students access better choices. Through projects like this, we are going to close the achievement gap.   

    For more information about this organization or others providing Pathways to Opportunity, reach out to Philanthropy Roundtable Program Director Erica Haines.

  • Saving the Arts from Politics and Presentism

    How philanthropy can support the arts in an age of activism

    Philanthropy Roundtable’s Values-Based Giving Program connects our donor community to high-impact organizations that advance our shared values of liberty, opportunity and personal responsibility. This story is part of our campaign highlighting how donors and nonprofits work together to improve lives. Interested in learning more about Values-Based Giving and the services our team provides? Click here.

    Lincoln Jones doesn’t like to talk about ballet. That’s because as the founder of American Contemporary Ballet, his Los Angeles-based company of 21 dancers that mounts some 70 performances a year, he thinks about ballet in a different way than most. “Imagine a theoretical art form that is populated by almost impossibly beautiful creatures,” he says. “Angels, practically, angels inhabited by pure rhythm, and moving in a way that is unmistakable proof of human nobility.”

    Jones’s reverence for ballet has meant going against the grain of traditional staging, bringing the art form to warehouses and open spaces where his audiences can be immersed in the performances. But his quest for independence also goes beyond the stage. In summer 2020, Jones found himself dancing on a newly unstable platform. Like arts organizations across the country, Jones was pressured to post a black square to his company’s social media accounts. The reason: to show solidarity with Black Lives Matter. It wasn’t just a request. It was more like a demand. Yet, Jones refused. One of the few arts leaders to do so, he faced a backlash that almost overturned his company.

    “In 2020, they tried to kill us,” he recounts. “The ‘black square’ swept the arts world. Everyone was supposed to post the black square in support of Black Lives Matter. I didn’t do it. For one, because I read what Black Lives Matter was and I didn’t support it. And, two, it was not my prerogative to represent the artists in my company politically.”

    For his sin of omission, Jones’s dancers were threatened. They feared for the future of their careers. They worried they would be ostracized from the world of dance. But Jones stood his ground, writing an open letter to his company explaining his actions. There were resignations and loss of funding, but his audience returned. Now, two years later, as other LA-based arts organizations still find their numbers down, American Contemporary Ballet is up and dancing to a sold-out run.

    “There is no thought of the moralizing and the guilt trips that now come with what should be joyful, personal and celebratory experiences,” Jones says of the impact of today’s politics on the arts.

    In contrast, for his company, “Not a single audience member has complained that we have not apologized for the land we are dancing on, or the music that we’re dancing to or the color of our skin,” said Jones. “They all just seem to want a good show.”

    Jones is now one of the signatories of Philanthropy Roundtable’s “True Diversity” Initiative, which published a statement of principles pledging to “return love, compassion and empathy to the diversity conversation by embracing an equality-based perspective.” His journey reveals the challenges of finding a middle ground in a culture that has become anything but neutral. The same is true for today’s arts funders who seek to stay above the fray of contemporary politics.


    The problem is that, in the past few years, mainstream arts organizations have become besotted with politics. Transcendence is out. Presentism is in. Arts for art’s sake? Today, it can seem more like art for the sake of climate change, social justice or racial redress. In the news, we now see activists storming museums to throw soup at paintings or glue themselves to the walls. Yet these outward convulsions often only mirror the vandalism from within. Mainstream arts leaders are attacking the legacies of their own institutions. The director of the American Museum of Natural History has overseen the destruction of her institution’s memorial to Theodore Roosevelt. The director of the Whitney Museum of American Art gave the green light to an exhibition that attacked one of his own trustees, who was forced to resign. The director of the Metropolitan Museum of Art has called his institution “connected with a logic of what is defined as white supremacy.”

    In a recent City Journal article, “Guardians in Retreat,” Heather Mac Donald decries the firing of the 82 volunteer docents at the Art Institute of Chicago and their replacement with six paid educators. The reason? The color of their skin. In the mantra of “diversity, equity and inclusion,” the museum claimed its docent program had “centered certain stories while marginalizing and suppressing others.”

    Mac Donald continues:

    “The racialist wave that swept the United States following the arrest-related death of George Floyd in May 2020 has taken down scientists, artists and journalists. Entire traditions, whether in the humanities, music or scientific discovery, have been reduced to one fatal characteristic: whiteness. And now the anti-white crusade is targeting a key feature of American exceptionalism: the spirit of philanthropy and volunteerism.”

    Beyond these racialized attacks, cultural philanthropy continues to find itself up against the notion that charity should be spent on only utilitarian concerns. The Princeton philosopher Peter Singer reflects this Benthamite attitude, named for English writer Jeremy Bentham, in his book “The Life You Can Save”: “Philanthropy for the arts or for cultural activities is, in a world like this one, morally dubious.”

    Singer pointed to the $45 million the Metropolitan Museum of Art spent on a Duccio painting in 2004 as an amount that would pay for cataract operations for nearly one million blind people in the developing world. “If the museum were on fire,” he wrote, “would anyone think it right to save the Duccio from the flames, rather than a child?”

    Of course, the choice is a false equivalence. Philanthropy is not a zero-sum equation. A dollar directed to a museum does not remove a dollar from a hospital, food bank or shelter. And the soul is a vital organ of its own. American philanthropists have long understood this call as they established a vital legacy of arts support. Without a monarchy, largely with support from the state, private philanthropy created and underwrote American cultural organizations in ways that have become the envy of the world and a reflection of the virtues of our democratic ideals. Unfortunately, for many of today’s progressive cultural leaders, these ideals are just the problem as they seek to overturn this democratic legacy and undermine American legitimacy. They check all of the boxes except the one that matters: as Jones puts it, the box for “human nobility.”

    For philanthropists who still believe in America’s founding principles, funding for the arts can be a dance of its own. Sometimes the answer is to go it alone—funding one’s own cultural projects. With support from the Morris and Alma Schapiro Fund, the painter Jacob Collins founded a school called the Grand Central Atelier in 2014—after taking on students informally for more than two decades—that is dedicated to reviving the classical traditions of art. His first students from the 1990s have become his faculty, and his school now attracts students and attention from across the globe. Likewise in 2009, Rick DeVos founded ArtPrize, a contemporary art competition and festival that has invigorated Grand Rapids, Michigan, by offering nearly $500,000 in prizes and attracting half a million visitors a year, with art displayed throughout the city.

    Fortunately, outside of the world of land acknowledgments, preferred pronouns and black squares, there are still partners to be found who value art for art’s sake and the freedom that spirit represents. Take Riverside Symphony, composer and cofounder Anthony Korf’s 41-year-old Lincoln Center orchestra that rejects identity politics through its concerts and music literacy program for inner-city school children.

    “We program music on the basis of its value, or the potential of a contemporary composer to achieve that stature over time,” he says, going against the DEI mandates of many of today’s foundation functionaries.

    Or consider the National Civic Art Society, the advocacy organization led by Justin Shubow promoting America’s classical vernacular as envisioned by the Founding Fathers.

    “We shape our buildings; thereafter they shape us,” Shubow says, quoting Winston Churchill. “Our Founding Fathers were architects in their own right. They chose classical architecture to harken back to Rome and Athens.”

    What these arts organizations all share is a commitment to beauty and excellence that rises above contemporary trends and political convenience.

    The answer for today’s arts funders, one museum trustee tells me, is to look beyond the biggest organizations and the supposed prestige conferred by their board seats. Instead, he says, “Look to the second and third tier museum,” noting the abundance of local arts institutions that can still mount serious shows by flying under the radar of the Fords, Mellons and Carnegies and their progressive mandates. Join up with other connoisseurs, he advises, who don’t want to be led around by the nose.

    Likewise at Bader Philanthropies, one strategy of funding the arts is through its “Building Resilient Communities” initiative. “Through this strategy,” says the program officer Bridgett Gonzalez, “we are able to embrace the rich cultural diversity that embodies our local artistic community, exemplified through creative and traditional art forms.”

    When it comes to the arts, the solution, ultimately, goes beyond the politics of left and right. “There is a very specific political ideology that has taken over,” concludes Lincoln Jones. “It has for a very long time. This did not start in 2020. You have art that is politically based. And then there is art that is based on the human desire for connection and spirituality.”

    Nevertheless, to avoid the politics of art, it now takes some understanding of the art of politics and a willingness to dig deeper into the cultural organizations that expect your support. The question is not what is right or left, but what is right or wrong when it comes to the arts and the bravery to embrace, in English poet Matthew Arnold’s famous phrase, what is still “the best that has been thought and said in the world.”

    James Panero is the executive editor of The New Criterion.

    (Photo Credit: American Contemporary Ballet)