Journal of Philanthropy and Marketing最新文献

Which novelties do donation- and reward-based crowdfunding bring to philanthropy? Scholars interested in crowdfunding contributed to developing empirical explanations on which features impact online giving. However, the focus on theory building is limited. We developed a theoretical framework by categorizing the empirical findings reported in 198 studies, which resulted in four crowdfunding features impacting giving: (1) project creator, (2) social information, (3) rewards, and (4) project description. We explain why these features impact giving by integrating them with insights from several fields of social sciences, deriving seven giving mechanisms. We conclude that with impacting donations via crowdfunding, three giving themes exist: being affected by (1) the perceived project's quality, (2) social connections and/or (3) tangible rewards. The categorization of mechanisms for giving allows initiators to extract best practice examples for increasing the probability of successful crowdfunding projects considering the giving mechanisms.

Research on sustainable consumption is increasing however, it mostly focuses on commercial products. Fashion industry in general remains understudied especially small size business in sustainable fashion. Even this segment continues to be neglected in research, it creates a significant impact on sustainability. The study is carried in Lithuania. While sustainability is regarded as the business standard in neighboring countries, especially Scandinavia, Lithuania is still learning how to become more conscious and sustainable. Although the country has the capacity to lead sustainability in the region, there is inadequate education on this matter. Regardless, several local businesses and governments agree that incorporating sustainability is a single clear route to economic growth. The paper aims to understand motives and values of Lithuanian sustainable clothing business owners and explore how they communicate these motives and values. The study employs a qualitative approach of in-depth semi-structured interviews. The analysis is guided by the framework of grounded theory, which leads to the conception of four themes: (1) Initiating a Change; (2) Respectful and Responsible Approach; (3) Slowness; (4) Personal and Purposeful Communication. A possible limitation of this study is the language barrier. Participants could choose whether they wished to speak in English or Lithuanian. Three out of seven chose to speak their native language, while four agreed to speak in English. Although English-speaking participants did not show any difficulty expressing themselves, their interviews turned out to be shorter than those conducted in Lithuanian. Findings indicate that the motives, values, and communication procedures of the owners are reflected in bringing about a change in consumers' minds and actions, taking responsibility to show respect to stakeholders and the environment, slowing down in every step from design to shipping, and building a conscious and educated community. The paper has defined relevant terms and put forward the ground values of the sustainable fashion industry by giving a voice to sustainable clothing business owners, their experiences, and insights.

To thrive and survive, nonprofit organizations should always seek new sources of donations. Although many of these entities are laser-focused on obtaining cash and other similar forms of funds from their donors, they should not forget the abundant donation type that is also available to them: noncash goods. The process of marketing to donors for these goods is unique compared to fundraising for cash. Consequently, the goal of this study is multifaceted: to remind nonprofit organizations of the availability of noncash goods as a donation source, encourage them to unlock this trove through marketing, and provide them with recommendations on how to do so.

Community-based organizations (CBOs) fill a critical role in acting as public health partners and trusted resources for their communities, especially in an emergency. The CDC Foundation, an independent, nonprofit organization, used trust-based philanthropy to manage more than 110 COVID-19 grants focused on equitable vaccine information, outreach, and access. The CDC Foundation team uses a trust-based philanthropy paradigm by applying five out of six of the grantmaking practices: do the homework; simplify and streamline paperwork; be transparent and responsive; solicit and act on feedback; and offer support beyond the check. By applying trust-based philanthropy practices, the CDC Foundation is empowering CBOs through flexible grant management and more equitable power dynamics as grantee and grantor. This has been essential to CBOs in their efforts of tackling health inequities during the COVID-19 pandemic and improving community resilience. Lessons learned will inform future collaborations with CBOs where the power dynamics are shared.

Critical commentaries on visual constructions of distant suffering within humanitarian communication research have critiqued and problematised how International non-governmental organisations (INGOs) frame Black and Brown distant ‘Others.’ However, much focus has been on the implications of these mediated imageries for overseas communities, while African diaspora have received much less attention. African diaspora is critical in current debates around representation, especially given increased criticisms around the ethicality of INGO fundraising communications for UK-situated Black racialised publics. This article thus complicates existing debates by repositioning the empirical preoccupation with distant Others ‘over there,’ towards UK-situated African diaspora ‘over here.’ Using interview evidence with UK-based INGO professionals involved in the production and dissemination of imageries of humanitarian issues, it explores how INGOs construe African diaspora populations in considerations around, and implications of, the ethicality of their communications. Revealing that African diaspora are largely absent or ‘afterthoughts’ in INGO consciousness and practices for three central reasons. (1) They are not considered distinct and differentiated donor audiences worthy of strategic prioritisation, (2) Implicit professional/organisational ‘whiteness’ limits reflexive foresight of potential implications (negative or positive) of communications for diaspora and, (3) INGOs temporise over the (im)practicalities of ‘diaspora inclusive’ agendas for ethical communication.

This research aims to offer a new perspective of art philanthropy, different than the traditional one, that focuses on citizen's desire for and support to art as one of the most important, collective heritage of human society. It conceptually proposes the citizen arts philanthropy (CAP) system, as well as its application in the form of a digital platform. The research proposition is based on a cross-disciplinary review of literature on the history of arts, patronage and philanthropy, arts and philanthropy ethics, participatory philanthropy, evolution of stakeholders in the art world, and a digital citizen governance process. Analysis of the existing literature leads to the CAP conceptualization with the subsystem of artistic creation; financial, social, and practical engagement; and collective activities. Each subsystem sets its ethical codes to assure the ethics of arts philanthropy. The CAP system may be realized with a digital platform with registration, art and art philanthropy ethics setting, art selection and art philanthropy action. The digital platform is conceptualized as a collective design with citizen governance, including actors, domain, and process and includes the platform registration, art and art philanthropy ethics setting, art selection and art philanthropy action. The overall design of the CAP system offers a direct engagement of citizens in arts and arts philanthropy and assures that citizens have equalized rights and responsibilities regarding art selection and creation. It further contributes to a new ethics of arts and arts philanthropy and the ecosystem of the art world.

Overhead aversion has afflicted the nonprofit sector in recent decades. Yet, questions remain regarding how high is too high from a donor perspective and at what level overhead expenses just “feel right.” Using processing fluency as a theoretical foundation, the central purpose of this research was to investigate whether a nonprofit overhead ratio fluency level exists that significantly reduces both donation likelihood and nonprofit perceptions. Results from two studies show that a 25% overhead ratio appears to be the proximate ceiling regarding what fluently fits within a potential donor's schema for acceptance. Overhead ratios exceeding this threshold tended to decrease donation likelihood and nonprofit perceptions in a relatively stable manner. Moreover, the 25% threshold seems most relevant to human and animal causes and not as relevant to arts and cultural nonprofits such as museums. The results suggest that donors have a preconceived overhead ratio limit. Nonprofits that exceed that threshold are in danger of deterring donors. If nonprofit overhead ratios exceed the donor fluency threshold, nonprofit managers should consider distinct promotional strategies that entice donors and diminish overhead aversion effects.

The concept of open innovation ecosystems is receiving increasing attention in academic literature, but its application to the cultural industries and, more specifically, to philanthropically-funded cultural initiatives, remains a largely unexplored domain. This study, leveraging on in-depth interviews with stakeholders, observation and immersion in the field, employs primary qualitative data from a philanthropically-funded cultural initiative and applies the ecosystem-as-structure conceptual framework to study the factors that have enabled a nascent open innovation ecosystem in the cultural industries to emerge. Findings point to a number of essential components and characteristics of the emergent ecosystem that are crucial elements of success in the view of key stakeholders. The findings consequently shed light on the managerial practices and strategy that facilitate the success of a philanthropically-funded artistic initiative which fosters the creation of a new open innovation arts ecosystem.