Experiences Shape Who We Are & How We Give
The art of philanthropy in challenging times.
written by
Jay Hunsberger
In our confusing and sometimes disheartening world, I am buoyed by those among us who work to create positive change, including those giving their time, treasure, and talent.
Uniting and focusing efforts for the “greater good.”
This brings to mind, once again, my composer friend, Francis Schwartz. Previously, I shared a lesson I learned from Francis about how we see ourselves – and others – and the value of understanding the stories and experiences that shaped us. Here, we will head off into deeper waters.
Francis Schwartz: On The State of Children
In November of 2012, I put together a concert of Francis Schwartz’s music in Tampa, Florida. One of the compositions I performed with a talented colleague was his work, “On the State of Children.”
In the notes preceding the musical score, Francis writes that the work “explores some of the horrible aspects of child abuse. This crime is still prevalent throughout the world and the four musical sections are dedicated to various types of abuse: ethnic, sexual, religious, racial, and homophobic, as well as a possible positive path to the eradication of such human debasement.”
Sobering stuff for sure. Performing this was one of the most emotionally powerful moments of my career. I remember literally shaking with energy on stage.
For those in the audience, the experience is like no other. Complete discomfort – the sort that makes you laugh out loud (when there’s nothing remotely funny) and cry at the same time. It’s intended to be immersive and cathartic and, like it or not, Francis totally achieves this. Riding home from the performance, my loving partner Jon said - with a bit of a twinkle in his eyes - “That was truly amazing. And I don’t think I ever want to sit through it again!” Jon knew Francis very well and loved him as dearly as I did. Jon could acknowledge feeling inspired by a concert that was superbly delivered, recognize that important concepts and ideas had been explored, yet feel emotionally drained and not necessarily wanting to revisit that any time soon! I understood.
The Power of Art
When I look back at that performance and that moment in time, there are so many takeaways. But I’ll focus on just a few.
First: we humans are complex and nuanced beings. And just like us, great art comes in all shapes and sizes. Sometimes it’s immediately understandable and attractive. Other times it feels obtuse, uncomfortable to sit with, and ugly. We might be in the mood for one thing today but appreciate something very different tomorrow (or next year or ten minutes from now). That’s all part of the deal. It’s not intended to be the same experience for each of us.
My takeaway and yours might be totally opposite. And that’s just fine. I might not like your choice of art. But who cares? I believe there’s plenty of room for all of it. It’s not a zero-sum equation. Your choice, specifically about what you think is “great art,” might mystify or even irritate me. The best thing I can do in those moments is to look within and figure out why I’m so upset. When I do that, I almost always learn something about myself. And that’s a win.
You and I will experience things differently. We will be shaped by our experiences differently.
When it comes to art, like so much in life, I’d argue that that’s more than okay. Our resulting actions can be more informed and more “universal” when we are exposed to a wide array of ideas and thoughts.
I’m struck by how our great country has changed since that concert. Staging a performance that takes on difficult subjects at a public university would not be possible today, as it was in 2012, in many places. That makes me sad. Though it was only fourteen years ago, I had no notion at that time that presenting this sort of concert was remotely problematic. Being able to share music - or dance or visual art - is one of the most important principles of our institutions of learning, in my opinion.
When we are faced with news of banned works of art, huge funding cuts for our cultural institutions (including that particular venue), and arguments concocted to pit “your” rights against “my” rights, will we remember the freedom we had to share thought-provoking art?
That concert gave all of us assembled there a chance to exchange ideas and impressions, not only on the performance, but also on the musical themes and messages. Afterwards, my students and I discussed our experience and opinions, without passing judgement, editing, or trying to advance one idea over another. It was the very essence of democracy and freedom.
Philanthropy Shaped by Experience
In my current chapter I have the amazing fortune to work with people who seek to make their world a better place, whether that’s their neighborhood, their town, or, the planet. They come from all walks of life.
Each has their own unique vision of what a better world is. Each has their own dreams and values that shape their thinking.
They work towards their personal vision of what “better” looks like.
But…the people I have the honor of working with realize the futility of focusing on creating their vision at the expense of someone else’s vision. They don’t choose to waste their time and treasure on diminishing the hopes and dreams of another. They don’t need to tear down and belittle. They often work quietly and determinedly, behind the scenes, employing their resources strategically and with a full heart towards their aspirations and dreams. They know there are others in the world working to achieve different goals and ambitions. And they’re okay with that. Their focus remains clear and unencumbered.
When the chaos and division in today’s world feel overwhelming, I focus on those making a difference. My goal is to help them uplift those around them and be a force for positive change.
Yet another lesson learned from my friend Francis.
Philanthropy Steps Up: By the Numbers
In early 2025, the National Endowment for the Arts canceled 80 Challenge America grants supporting underserved communities. In response, the Andy Warhol Foundation and Helen Frankenthaler Foundation jointly committed $800,000 in emergency funding - providing $10,000 to each of the 80 affected organizations so projects could proceed despite the loss of federal support. - The Andy Warhol Foundation, May 2025
In June 2026, Alice Walton opened a 114,000-square-foot expansion of the Crystal Bridges Museum of American Art in Bentonville, Arkansas, increasing the museum’s footprint by 50%. The new galleries significantly expand exhibitions featuring historically underrepresented American artists, bringing voices and perspectives that are rarely accessible in rural communities. – Chadd Scott, Forbes, June 2026
The Prebys Foundation announced $13.375 million in emergency funding for 61 San Diego arts and culture organizations. CEO Grant Oliphant described the funding as an emergency response to federal funding disruptions while cautioning that philanthropy cannot permanently replace government funding. – Inside Philanthropy, September 2025
