Participatory grantmaking is a funding practice in which members of the population the funds are to serve are included in the evaluation or decision-making process. It stands in contrast to traditional grantmaking, wherein only the representatives of the funding source (e.g. a charitable foundation's staff or board) make decisions. The practice was pioneered in the early 1970s by the Funding Exchange, a North American grantmaker network, and has been slowly gaining adoption, mostly among funders of activism, community organizing, and social justice. The term "participatory grantmaking," nonexistent as of 2008, has been promoted in later years by a firm named "Lafayette Practice", which produced a report in 2014 and then conducted a study for the Wikimedia Foundation which found in 2015 that the same Wikimedia Foundation was the largest "Participatory Grantmaking" fund, after a article about the concept was authored by Wikimedia Foundation employees who used as the main source the 2014 report (see references below).
The practice
Many forms of participation and levels of inclusion are found in different models of participatory grantmaking. The common thread is that the funding body is not making decisions without some participation from those affected by the programmatic work the grant is funding.
Examples of forms of participation include strategic advisory committees (steering committees, budget planning committees); tactical advisory committees (evaluating specific grant proposals) levels; invited observers; and community consultations (online or in person).
Levels of inclusion can range from including the board or staff of the grantee organization, through including grantee programmatic staff and volunteers, to including individuals from the affected communities, or even (rarely) the general public (by making the process itself public).
As of early 2014, some international funders practicing participatory grantmaking are: Global Green Grants, Edge Fund, Disability Rights Fund; FRIDA; GMT Initiative; HIV Young Leaders Fund; International Treatment Preparedness Coalition (ITPC), HIV Collaborative Fund, Red Umbrella Fund, Robert Carr Networks Fund, and UHAI - the East African Sexual Health and Rights Initiative.
Perceived benefits
The perceived benefits of participatory grantmaking are both moral and pragmatic benefits:
The fact of being participatory itself is both a moral and pragmatic benefit, in that it brings into philanthropic and non-profit decision-making different groups, many of which would not have otherwise had access to the circles in which decisions are traditionally made, due to oppression, marginalization, lack of physical access, et cetera.
For example, in the Red Umbrella Fund, a funding program aiming "to strengthen and ensure the sustainability of the movement", 80% of the advisory panel identifies as current or former sex workers.
Participatory grantmaking contributes to grantmaker flexibility—in that changes in local context are quicker to propagate and more effectively voiced to the funders.
born of participatory grantmaking helps existing and prospective grantees better understand the process, the considerations, and the outcomes, of their proposal's evaluation by the funder. In the traditional model, applicants would have no visibility into anything that happened between submitting their application and receiving a positive or negative (or partial) funding decision; even after the decision, it could be difficuly to understand how and why a particular funding decision (even if positive) was made. Transparency of funding discussions and considerations toward the affected communities is also considered "a democratic practices".
The wider context afforded by more inclusive participation encourages more strategic thinking about movement building, which is the context many of the current practitioners of participatory grantmaking are operating in. The wider participation mitigates against undue bias by personal tendencies or sympathies, and is a force for movement-wide accountability by the funding body.
Morally, the inclusion of people to be served or protected in discussions on whether and how to do so is intuitively appropriate and fair, and aligns with the Nothing About Us Without Us notion, made popular in the work of the disability rights movement.
Such inclusion is also perceived by some to be ensuring "that grants are allocated to those most deserving".
Finally, participatory grantmaking typically also involves a high degree of capacity building, paying special attention to obstacles preventing communities and local groups from engaging more effectively either with the issues or with the grant process itself. Some participatory grantmakers are committed to a dialogue-based approach to grant proposals (as distinct from the traditional "submit, wait, get final answer" approach), with iterative development of proposals toward a compelling proposal, before a decision is made.
Challenges and shortcomings
One salient challenge in participatory grantmaking is navigating issues of conflict of interest. Local and community participants may find themselves in ethically or socially awkward situations when faced with strategic or concrete decision making involving groups or individuals with whom they have relationships that can amount to a conflict of interest.
Achieving adequate participation often entails significant investment of time and coordination, facilitation of large group conversations, often requiring international flights. Additional effort is required to make documentation available in multiple languages, as well as to accept documentation (both proposals and feedback) in different languages.
The practice
Many forms of participation and levels of inclusion are found in different models of participatory grantmaking. The common thread is that the funding body is not making decisions without some participation from those affected by the programmatic work the grant is funding.
Examples of forms of participation include strategic advisory committees (steering committees, budget planning committees); tactical advisory committees (evaluating specific grant proposals) levels; invited observers; and community consultations (online or in person).
Levels of inclusion can range from including the board or staff of the grantee organization, through including grantee programmatic staff and volunteers, to including individuals from the affected communities, or even (rarely) the general public (by making the process itself public).
As of early 2014, some international funders practicing participatory grantmaking are: Global Green Grants, Edge Fund, Disability Rights Fund; FRIDA; GMT Initiative; HIV Young Leaders Fund; International Treatment Preparedness Coalition (ITPC), HIV Collaborative Fund, Red Umbrella Fund, Robert Carr Networks Fund, and UHAI - the East African Sexual Health and Rights Initiative.
Perceived benefits
The perceived benefits of participatory grantmaking are both moral and pragmatic benefits:
The fact of being participatory itself is both a moral and pragmatic benefit, in that it brings into philanthropic and non-profit decision-making different groups, many of which would not have otherwise had access to the circles in which decisions are traditionally made, due to oppression, marginalization, lack of physical access, et cetera.
For example, in the Red Umbrella Fund, a funding program aiming "to strengthen and ensure the sustainability of the movement", 80% of the advisory panel identifies as current or former sex workers.
Participatory grantmaking contributes to grantmaker flexibility—in that changes in local context are quicker to propagate and more effectively voiced to the funders.
born of participatory grantmaking helps existing and prospective grantees better understand the process, the considerations, and the outcomes, of their proposal's evaluation by the funder. In the traditional model, applicants would have no visibility into anything that happened between submitting their application and receiving a positive or negative (or partial) funding decision; even after the decision, it could be difficuly to understand how and why a particular funding decision (even if positive) was made. Transparency of funding discussions and considerations toward the affected communities is also considered "a democratic practices".
The wider context afforded by more inclusive participation encourages more strategic thinking about movement building, which is the context many of the current practitioners of participatory grantmaking are operating in. The wider participation mitigates against undue bias by personal tendencies or sympathies, and is a force for movement-wide accountability by the funding body.
Morally, the inclusion of people to be served or protected in discussions on whether and how to do so is intuitively appropriate and fair, and aligns with the Nothing About Us Without Us notion, made popular in the work of the disability rights movement.
Such inclusion is also perceived by some to be ensuring "that grants are allocated to those most deserving".
Finally, participatory grantmaking typically also involves a high degree of capacity building, paying special attention to obstacles preventing communities and local groups from engaging more effectively either with the issues or with the grant process itself. Some participatory grantmakers are committed to a dialogue-based approach to grant proposals (as distinct from the traditional "submit, wait, get final answer" approach), with iterative development of proposals toward a compelling proposal, before a decision is made.
Challenges and shortcomings
One salient challenge in participatory grantmaking is navigating issues of conflict of interest. Local and community participants may find themselves in ethically or socially awkward situations when faced with strategic or concrete decision making involving groups or individuals with whom they have relationships that can amount to a conflict of interest.
Achieving adequate participation often entails significant investment of time and coordination, facilitation of large group conversations, often requiring international flights. Additional effort is required to make documentation available in multiple languages, as well as to accept documentation (both proposals and feedback) in different languages.
Kithe Brewster, also known as Kite, is an American stylist and fashion designer and founder of Kithe Brewster brand and company.
Career
Early in his career, Kithe spent fourteen years in Europe honing his skills as a fashion editor and stylist. Leaving for Paris at age nineteen proved to be the right move for Brewster, who immediately grasped the French scene, becoming a hot stylist on the move almost instantly. After seven years in Paris, Brewster moved to London where music styling became his bread and butter. Working with artists, like the group the multi-platinum selling band that he imaged from the start, their video “C’est La Vie” was credited for the return of denim in the mainstream. In no time it was the Brit Awards and Finley Quay, who chose Kite to smarten him and his band’s look for the big night. Winning “Best Male Solo Artist” of the year that night, Finley’s performance was noted in history, and Kithe had now begun to conquer two European fashion capitals.
While in London, Mr. Brewster got his start working for magazines such as Elle,Scene, Vanity Fair, Interview, Flaunt, Chic (Dutch), French and American Jalouse, and Surface to name some. His work for these publications gained attention from the crème de la crème in fashion, as well as European and Hollywood celebrity elite.
With his return to the U.S., Mr. Brewster’s work has become highly sought after by those at the top of American pop culture. After working with Julianne Moore on a Flaunt magazine cover, she immediately requested him to take her “under his wing” and become her stylist. He eagerly agreed, as he had become a fan of then up and coming actress. Makeup legend, Kevyn Aucoin was also taken with his work, and booked Brewster to style 60 percent of his styling in his last book. Kevyn told Kithe that he was one of the best stylists he had ever worked with. Brewster collaborated on shoots with Celine Dion as Maria Callas, Gwenyth Paltrow as Faye Dunaway in Bonnie and Clyde, Julianne Moore as Twiggy, and a multitude of others that will forever be a part of fashion history. Aucoin was also instrumental in spreading the word throughout Hollywood of Kithe’s work.
Kithe Brewster styled covers for Flaunt magazine with stars such as Adrien Brody, Cate Blanchett, Drew Barrymore, Selma Hayek, Winona Ryder, and many others. During the same time he kept Eve and Julianne Moore on best dressed lists all over the world and Brewster was established as a leading Hollywood stylist.
As a stylist, his work has appeared in television and print advertising campaigns for Revlon, L’Oreal, Roc-A-Wear, Puma, and many others. The “Hey Ya” video that Kithe styled, changed the face of fashion and music videos forever. “Hey Ya” went on to win every major video award possible in 2004 including MTV’s “Best Hi Hop” video, and “Video of the Year.” He had the same response with many other videos, like Eve’s “Let Me Blow Your Mind” featuring Gwen Stefani. “Let Me Blow Your Mind” won MTV’s 2001 “Bests Female” video. Garbage, Bryan Adams, Beyonce, Usher, Jessica Simpson, Lil’ Kim, and Brandy are just a few of the artists who have seen fashion through Kithe’s colored lens.
His personal clients have included: Halle Berry, Julianne Moore, Iman, Diane Lane, Eva Mendes, Usher, and Heidi Klum.Camilla Morton of British Vogue noted, “Kithe Brewster is to the best dressed list, what Henry Ford was to the automobile!” With the success of the twice Emmy nominated, Project Runway, Kithe’s work has reached recognition as millions of viewers every week watch and look to attain Heidi Klum’s style.
In December 2013 Brewster presented a preview of his Spring 2014 collection to help raise funds for the award-winning Evoluer House Programs in Philadelphia.Sessilee Lopez and Anna Rezan was of the guest star models of the fashion show.
In February 2014 he presented his personal collection for FW2015 at the Mercedes Benz Fashion Week.
In September 2014 Brester presented his personal collection for SS 2015,at the Mercedes Benz Fashion Week in New York city.TV persona Cynthia Bailey and actress,musician and model Anna Rezan walked the runway in his designs.In February 2015,Brewster presented his FW 2016 collection in New York Fashion Week.
Career
Early in his career, Kithe spent fourteen years in Europe honing his skills as a fashion editor and stylist. Leaving for Paris at age nineteen proved to be the right move for Brewster, who immediately grasped the French scene, becoming a hot stylist on the move almost instantly. After seven years in Paris, Brewster moved to London where music styling became his bread and butter. Working with artists, like the group the multi-platinum selling band that he imaged from the start, their video “C’est La Vie” was credited for the return of denim in the mainstream. In no time it was the Brit Awards and Finley Quay, who chose Kite to smarten him and his band’s look for the big night. Winning “Best Male Solo Artist” of the year that night, Finley’s performance was noted in history, and Kithe had now begun to conquer two European fashion capitals.
While in London, Mr. Brewster got his start working for magazines such as Elle,Scene, Vanity Fair, Interview, Flaunt, Chic (Dutch), French and American Jalouse, and Surface to name some. His work for these publications gained attention from the crème de la crème in fashion, as well as European and Hollywood celebrity elite.
With his return to the U.S., Mr. Brewster’s work has become highly sought after by those at the top of American pop culture. After working with Julianne Moore on a Flaunt magazine cover, she immediately requested him to take her “under his wing” and become her stylist. He eagerly agreed, as he had become a fan of then up and coming actress. Makeup legend, Kevyn Aucoin was also taken with his work, and booked Brewster to style 60 percent of his styling in his last book. Kevyn told Kithe that he was one of the best stylists he had ever worked with. Brewster collaborated on shoots with Celine Dion as Maria Callas, Gwenyth Paltrow as Faye Dunaway in Bonnie and Clyde, Julianne Moore as Twiggy, and a multitude of others that will forever be a part of fashion history. Aucoin was also instrumental in spreading the word throughout Hollywood of Kithe’s work.
Kithe Brewster styled covers for Flaunt magazine with stars such as Adrien Brody, Cate Blanchett, Drew Barrymore, Selma Hayek, Winona Ryder, and many others. During the same time he kept Eve and Julianne Moore on best dressed lists all over the world and Brewster was established as a leading Hollywood stylist.
As a stylist, his work has appeared in television and print advertising campaigns for Revlon, L’Oreal, Roc-A-Wear, Puma, and many others. The “Hey Ya” video that Kithe styled, changed the face of fashion and music videos forever. “Hey Ya” went on to win every major video award possible in 2004 including MTV’s “Best Hi Hop” video, and “Video of the Year.” He had the same response with many other videos, like Eve’s “Let Me Blow Your Mind” featuring Gwen Stefani. “Let Me Blow Your Mind” won MTV’s 2001 “Bests Female” video. Garbage, Bryan Adams, Beyonce, Usher, Jessica Simpson, Lil’ Kim, and Brandy are just a few of the artists who have seen fashion through Kithe’s colored lens.
His personal clients have included: Halle Berry, Julianne Moore, Iman, Diane Lane, Eva Mendes, Usher, and Heidi Klum.Camilla Morton of British Vogue noted, “Kithe Brewster is to the best dressed list, what Henry Ford was to the automobile!” With the success of the twice Emmy nominated, Project Runway, Kithe’s work has reached recognition as millions of viewers every week watch and look to attain Heidi Klum’s style.
In December 2013 Brewster presented a preview of his Spring 2014 collection to help raise funds for the award-winning Evoluer House Programs in Philadelphia.Sessilee Lopez and Anna Rezan was of the guest star models of the fashion show.
In February 2014 he presented his personal collection for FW2015 at the Mercedes Benz Fashion Week.
In September 2014 Brester presented his personal collection for SS 2015,at the Mercedes Benz Fashion Week in New York city.TV persona Cynthia Bailey and actress,musician and model Anna Rezan walked the runway in his designs.In February 2015,Brewster presented his FW 2016 collection in New York Fashion Week.
Petra Christian Education and Teaching Association is an education association in Indonesia which is associated with the founding of Petra Christian University.
History
Petra Christian University establishment should always be associated with Petra Christian Education and Teaching Association or PPPK Petra. PPPK Petra is a Christian union established on April 12, 1951, with the purpose to provide education from the level of kindergarten to senior high schools.
The idea of establishing a university aiming to give the opportunity for its alumni to get higher education has existed since 1956.
On September 21, 1960, the Committee of University Establishment Planning Preparation was formed, with the duty to prepare all the necessities to establish a university. The members of the committee were: drg. Tan Tjiaw Yong, Gouw Loe Liong, drg. Tan Gie Djien, Tjoa Siok Tjoen, Lie Ping Lioe and Kwee Djien Kian. Afterwards, based on their work, on August 8, 1961, the coordinators decided to establish Petra Christian University with the its first department, Faculty of Letters.
On September 22, 1961, the day of 10th anniversary PPPK Petra, the establishment of Petra Christian University was publicized. Several days later, on September 28, 1961, the coordinators of PPPK Petra formed the Directorate of University Affairs, whose duty was to manage the university, and temporarily acted as Sponsor Board members. The members of the directorate were: drg. Tan Tjiaw Yong, Ir. O.F. Patty, dr. Mesakh Wignjohoesodo, Gouw Loe Liong and J.A. Sereh. A year later, on September 15, 1962, the second department: Civil Engineering was established.
Realizing the growth of the university, the coordinators re-evaluate the internal regulation of PPPK. On July 18, 1964, a committee for the establishment of Petra Christian University Foundation was set up, and the members of the committee were: J.E. Sahetapy SH, drg. Tan Tjiaw Yong, dr. M. Wignjohoesodo, Kho Hong Pie, R.M.S. Kertonadi and P.H. Saroinsong. The establishment concept of Petra Christian University Foundation (YPTK Petra) was accepted on October 22, 1964, and it was legally constituted on January 7, 1965.
The first Board Members of PCU Foundation
*President : Letkol. (Tituler) J.W. Pourawouw
*Vice President : drg. Tan Tjiaw Yong (ex Officio Petra Christian University Rector)
*Secretary : drg. Tan Gie Djien
*Treasurer : Ir. Tan Som Yan
*Members : dr. Mesakh Wignjohoesodo and Ir. Tan Hoei Bo
Chairmen of YPTK Petra Board Members
#Letkol. Pdt. J.W. Porawouw (1965-1966)
#drg. Tan Tjiauw Yong (1967-1969)
#T.D. Oekardinata (1969-1985)
#Drs. Ec . Budi Setiawan (1985-1986)
#Prof. Dr. J.E. Sahetapy, S.H. (1986-1990)
#Prof. Dr. J.E. Sahetapy, S.H. (1990-1994)
#Prof. Dr. J.E. Sahetapy, S.H. (1994-1999)
#Prof. Dr. J.E. Sahetapy, S.H. (1999-2003)
#Prof. Dr. J.E. Sahetapy, S.H. (2004-2008)
History
Petra Christian University establishment should always be associated with Petra Christian Education and Teaching Association or PPPK Petra. PPPK Petra is a Christian union established on April 12, 1951, with the purpose to provide education from the level of kindergarten to senior high schools.
The idea of establishing a university aiming to give the opportunity for its alumni to get higher education has existed since 1956.
On September 21, 1960, the Committee of University Establishment Planning Preparation was formed, with the duty to prepare all the necessities to establish a university. The members of the committee were: drg. Tan Tjiaw Yong, Gouw Loe Liong, drg. Tan Gie Djien, Tjoa Siok Tjoen, Lie Ping Lioe and Kwee Djien Kian. Afterwards, based on their work, on August 8, 1961, the coordinators decided to establish Petra Christian University with the its first department, Faculty of Letters.
On September 22, 1961, the day of 10th anniversary PPPK Petra, the establishment of Petra Christian University was publicized. Several days later, on September 28, 1961, the coordinators of PPPK Petra formed the Directorate of University Affairs, whose duty was to manage the university, and temporarily acted as Sponsor Board members. The members of the directorate were: drg. Tan Tjiaw Yong, Ir. O.F. Patty, dr. Mesakh Wignjohoesodo, Gouw Loe Liong and J.A. Sereh. A year later, on September 15, 1962, the second department: Civil Engineering was established.
Realizing the growth of the university, the coordinators re-evaluate the internal regulation of PPPK. On July 18, 1964, a committee for the establishment of Petra Christian University Foundation was set up, and the members of the committee were: J.E. Sahetapy SH, drg. Tan Tjiaw Yong, dr. M. Wignjohoesodo, Kho Hong Pie, R.M.S. Kertonadi and P.H. Saroinsong. The establishment concept of Petra Christian University Foundation (YPTK Petra) was accepted on October 22, 1964, and it was legally constituted on January 7, 1965.
The first Board Members of PCU Foundation
*President : Letkol. (Tituler) J.W. Pourawouw
*Vice President : drg. Tan Tjiaw Yong (ex Officio Petra Christian University Rector)
*Secretary : drg. Tan Gie Djien
*Treasurer : Ir. Tan Som Yan
*Members : dr. Mesakh Wignjohoesodo and Ir. Tan Hoei Bo
Chairmen of YPTK Petra Board Members
#Letkol. Pdt. J.W. Porawouw (1965-1966)
#drg. Tan Tjiauw Yong (1967-1969)
#T.D. Oekardinata (1969-1985)
#Drs. Ec . Budi Setiawan (1985-1986)
#Prof. Dr. J.E. Sahetapy, S.H. (1986-1990)
#Prof. Dr. J.E. Sahetapy, S.H. (1990-1994)
#Prof. Dr. J.E. Sahetapy, S.H. (1994-1999)
#Prof. Dr. J.E. Sahetapy, S.H. (1999-2003)
#Prof. Dr. J.E. Sahetapy, S.H. (2004-2008)
Multilanguage Electronic Publishing System (MEPS, formerly called Multilanguage Electronic Phototypesetting System) is a system for offset printing in a variety of languages and character sets. The system, completed in 1986, was designed by the .
The MEPS program is used for laying out written material in different languages with different character sets. The program was designed based on responses from the organization's own translators about each language. Before MEPS there was no system available for printing in many languages, due largely to the economies of many countries where production of literature in their languages was not financially viable.
History
In January 1978, printing operations at the Watch Tower Society's headquarters in Brooklyn, New York were upgraded from letterpress printing to lithographic offset presses (later replaced by the faster photolithographic process).
In 1979 the Society decided to create its own phototypesetting system rather than relying on commercial equipment. The Brooklyn office of the Watch Tower Society began work on the Integrated Publishing System (acquired by IBM in 1982). Concurrently, the Watch Tower Society's office at Watchtower Farms, Wallkill, New York began designing and constructing the necessary phototypesetters, computers and terminals, in addition to the MEPS software. As of 2013, MEPS supports over 600 languages.
Usage
Article text is entered on MEPS workstations, composed of a familiar but enlarged typewriter keyboard and a monitor approximately the size of a page from The Watchtower. The keyboard contains a 16-bit microcomputer to control the 182 keys. Draft printing can be sent from the workstation directly to a lineprinter for editorial review or proofreading.<ref name=MEPS />
Each key has five shift levels that provide the equivalent of 910 keys to represent commands, characters or combination commands. For complex character sets, MEPS automatically determines the correct way to render each character, based on its position in a word or sentence, simplifying text entry. For example, standard Arabic Linotype must have different keys for all variations of the 22 Arabic letters in four different forms. By comparison, MEPS requires only one keystroke for each Arabic letter. Users who are already familiar with traditional typing and composition procedures can become proficient with MEPS in about two weeks.<ref name=MEPS />
After a publication has been composed on the display terminal, it is transferred to the MEPS phototypesetter. The phototypesetter produces an image on photographic paper, using a narrow beam of light, in a manner similar to the operation of a cathode ray tube in a television set. After the photographic paper is processed, it is photographed to produce film that, in turn, is used to make offset printing plates.<ref name=MEPS />
The MEPS program is used for laying out written material in different languages with different character sets. The program was designed based on responses from the organization's own translators about each language. Before MEPS there was no system available for printing in many languages, due largely to the economies of many countries where production of literature in their languages was not financially viable.
History
In January 1978, printing operations at the Watch Tower Society's headquarters in Brooklyn, New York were upgraded from letterpress printing to lithographic offset presses (later replaced by the faster photolithographic process).
In 1979 the Society decided to create its own phototypesetting system rather than relying on commercial equipment. The Brooklyn office of the Watch Tower Society began work on the Integrated Publishing System (acquired by IBM in 1982). Concurrently, the Watch Tower Society's office at Watchtower Farms, Wallkill, New York began designing and constructing the necessary phototypesetters, computers and terminals, in addition to the MEPS software. As of 2013, MEPS supports over 600 languages.
Usage
Article text is entered on MEPS workstations, composed of a familiar but enlarged typewriter keyboard and a monitor approximately the size of a page from The Watchtower. The keyboard contains a 16-bit microcomputer to control the 182 keys. Draft printing can be sent from the workstation directly to a lineprinter for editorial review or proofreading.<ref name=MEPS />
Each key has five shift levels that provide the equivalent of 910 keys to represent commands, characters or combination commands. For complex character sets, MEPS automatically determines the correct way to render each character, based on its position in a word or sentence, simplifying text entry. For example, standard Arabic Linotype must have different keys for all variations of the 22 Arabic letters in four different forms. By comparison, MEPS requires only one keystroke for each Arabic letter. Users who are already familiar with traditional typing and composition procedures can become proficient with MEPS in about two weeks.<ref name=MEPS />
After a publication has been composed on the display terminal, it is transferred to the MEPS phototypesetter. The phototypesetter produces an image on photographic paper, using a narrow beam of light, in a manner similar to the operation of a cathode ray tube in a television set. After the photographic paper is processed, it is photographed to produce film that, in turn, is used to make offset printing plates.<ref name=MEPS />