The Philanthropy Stage
A metaphorical play on the funding dynamics behind the curtain
Philanthropy often takes centre stage for those of us trying to create social change in some shape or form. It is presented as the ultimate force for good — a noble endeavour and necessity in pursuit of addressing society’s most pressing issues.
Yet, as I’ve ventured deeper into this world, inhabiting a funder role, I’ve come to realise that what’s on stage is only part of the story. The classic philanthropy play could be seen as diverting our attention from the economic forces and institutions working behind the scenes.
When I stepped into this role, I believed that philanthropy itself needed to change. And, I still stand by that. Knowing there is also much work happening in that space, with many individuals and organisations striving to make meaningful shifts in how philanthropy works, how money moves and where it goes to.
But as I’ve spent more time in this space, it’s become increasingly clear that the real ‘props’ of power lie not in philanthropy itself, but in the deeply coded scripts, systems and structures that underpin it.
The Philanthropic performance: A participatory illusion
Imagine philanthropy as a grand theatre production. The audience sees the actors — charitable foundations, donors, high net worth individuals — performing on stage, but few in the audience are aware of the complex machinery operating behind the curtain.
Seen in this light, philanthropy can sometimes feel like a pantomime — its clumsy performance intended to distract from the real power dynamics at play. While the audience’s attention is focused on the actors on stage, the true directors of the show remain out of sight, laughing at the spectacle they’ve orchestrated.
Philanthropy, then, is not just a performance; it’s a participatory piece where the audience is invited to believe in the story being told. And not just that — forced to play along in order to get the drips of resources and money. Like picking up fragments of the shiny confetti at the end of a star studded show.
Backstage actors: Who really directs the show?
To understand why philanthropy often struggles to change and fully enact its ambitions, we need to look at the entire production.
But behind the stage there is a whole backstage world, with its intricate networks of institutions and industries, that truly controls the show. A host of powerful entities pulling the strings.
As in many performances, the backstage ecosystem goes unseen, without the closing credits they remain in the shadows, safe in their anonymity.
Who are some of these people?
Decision making board and committees. Too often, faceless, revered, feared or pandered without the time or understanding of the issues they’re taking decisions on or without the clarity of processes to support this.
Family Offices. These are the unseen architects behind many family-driven philanthropic ventures. They control vast amounts of wealth, dictating how and where it’s distributed, what slice can be allocated to philanthropy, all while operating intentionally far from the public eye.
Corporate Boards. Many philanthropic foundations are extensions of corporate interests. At worst, the boards that oversee these foundations have more to say about the direction of philanthropic efforts than the foundations themselves.
The Financial Services Ecosystem. This dense network of legal and financial professionals, fund managers, and tax advisors plays a crucial role in maintaining the status quo. Their primary focus is on preserving and growing wealth, ensuring that the current economic system remains intact.
More often than not, these backstage players are guided by the revered script of neoliberal principles. Money is there to be protected and grown. This singular focus on this shapes so much and gives little room for anything else but of course it is at odds with our how our complex world works.
This economic ideology is the true director of the philanthropy show, dictating its pace and direction, and ultimately limiting its potential for genuine change.
The need for a new script and a new production
The current show might be entertaining, but it’s time to rewrite the script. We must create a new narrative — one that doesn’t just focus on the performance in front of us, but also takes into account the entire production.
If we truly want to change philanthropy, we need to go upstream, to challenge the very systems that created it. This means questioning the economic structures and assumptions that dictate how philanthropy operates.
Only then can philanthropy truly become a force for meaningful and lasting change.
It requires shining a spotlight on the backstage players and demanding greater transparency and accountability.
Of course, this is not a simple task.
The stage is set, the actors are in place, and the show has been running for a long time. But with a concerted effort to change the underlying system, we can hope to see a new kind of performance — one that’s inclusive, equitable, and genuinely transformative.
This piece draws on my experience of work at Thirty Percy as well as an ongoing creative exploration of the myths of philanthropy with the School of Systems Change.
The content of the piece I developed and conceptualised. I used chapt gpt to support structuring my notes and for copywriting support.
