· Private foundation
The Harkness Foundation for Dance Inc
Its FY2025 filing reports that it accepted unsolicited grant applications.
What you funded, over time
Every grant placed by its stated purpose and the recipient’s mission, by year — across FY2017–2025.
Where the money goes
Your grants by size, and where they go.
By grant size · FY2025
- Under $10k131 grants · $533k
- $10k–50k12 grants · $125k
- $50k–250k3 grants · $275k
| Recipient | Amount |
|---|---|
| JOYCE THEATER | $100,000 |
| 92nd STREET Y | $100,000 |
| BROOKLYN ACADEMY OF MUSIC (BAM) | $75,000 |
| WORKS & PROCESS | $15,000 |
| GINA GIBNEY DANCE (GIBNEY) | $10,000 |
| THE MISTY COPELAND FOUNDATION | $10,000 |
| NEW YORK CITY BALLET | $10,000 |
| PAUL TAYLOR DANCE COMPANY | $10,000 |
| THE FUND FOR PUBLIC SCHOOLS (SAI & Creative Pipeli | $10,000 |
| ALVIN AILEY DANCE FOUNDATION | $10,000 |
| LINCOLN CENTER FOR THE PERFORMING ARTS | $10,000 |
| JOSE LIMON DANCE FOUNDATION | $10,000 |
| AMERICAN FRIENDS OF BATSHEVA DANCE COMPANY | $10,000 |
| JACOB'S PILLOW | $10,000 |
| BALLET HISPANICO | $10,000 |
Do your dollars go where the need is?
Each grant placed by the hardship in its grantee’s ZIP, then read against the area’s typical level.
Your human-services grants (FY19–24, $13k) land where the poverty rate runs at 17%, against an area that typically sits at 10%. 100% of those dollars go to grantees based in above-average-need neighborhoods. Most of your grants land in higher-need ZIPs.
Matched: human-services grants are those whose grantee’s IRS cause code is Human Services. Placed by people below the poverty linein the grantee’s ZIP, averaged from the tracts in that ZIP; grantee ZIP can differ from where services are delivered.
US grants placed by each grantee’s ZIP, which can differ from where services are actually delivered. Need from public data — U.S. Census/ACS, CDC PLACES, Eviction Lab, USDA — shown as context about the area, never attributed to your giving.
Who you back again
Which organizations you funded more than once, and which you funded a single time. Each grantee is matched to its own filings.
And the relationships you keep tend to grow: grantees you re-up on have seen median revenue of +18% since the first grant, against 0% for the ones you funded once.
184 repeat relationships — 93 still active in FY2025, 91 since wound down; 40 grantees were first funded in FY2025 (too recent to call).
How the two cohorts compare
Organizations
Total granted
Median revenue growth · since first grant
Still filing today
New vs renewed · share of each year
In FY2025, 72% of grant dollars renewed an existing relationship; $259k went to new ones.
Where new relationships form · theme of each grantee’s first grant
First-time = a grantee’s first year in your filing window; renewed = funded in an earlier year too. As a portfolio matures the renewed share naturally climbs — once funded, an org stays “renewable” — so the signal is the years that buck it (a new-grantee intake wave). The earliest year is left-censored: relationships that predate the data read as “new.” Theme is the grantee’s IRS cause.
Backed again, and grew
- TYTHE YOUNG MEN'S AND YOUNG WOMEN'S HEBREW ASSOCIATION9× · 2017–2025 · $950k · revenue +31%
- NYNEW YORK CITY CENTER INC5× · 2017–2023 · $645k · revenue +16%
- JTJOYCE THEATER FOUNDATION INC5× · 2018–2024 · $295k · revenue +74%
Funded once
- BABROOKLYN ACADEMY OF MUSIC (2017 pledge in full)one grant, 2017 · $100k
- NLNYU LANGONE - HARKNESS CTR FOR DANCE INJURIESone grant, 2022 · $25k
- WMWHITNEY MUSEUM OF AMERICAN ARTgraduatedone grant, 2024 · $10k · revenue +64%
Repeat = funded in two or more distinct years; growth and survival are read from each grantee’s own subsequent IRS filings.
The map has a center of gravity: the average direction from the rest of the sector toward the organizations the foundation funds — the shape of its giving. Scoring every nonprofit along that direction surfaces the ones that look most like the portfolio. These are the closest matchesthat aren’t grantees — a resemblance in what they say they do, not a recommendation.
To nurture a personal commitment to dance as a life-long process of discovery through live performance of original choreography, interactive educational residencies, outreach programs, and digital media, and to create through the…
To creatively explore the intersection
Dance and music performances held in specific sites, often of historic significance, often free and open to the public
Pony Box Dance Theatre is a 21st century digital dream of Homeric athleticism with Olympian execution. An artful, moving exploration of men in dance, Pony Box Dance Theater aspires to bring the joy and beauty of dance to all people.Our…
To create contemporary dance works
Adele Myers and Dancers is a professional national touring dance theater company that suppports Miami-based dance artists at early stages of their careers by offering a commission for new work, mentorship, and performance opportunities in…
A Contemporary Dance Company Based in New York City
For reference, the grantee most central to the portfolio’s shape is Dance Works Inc and the most unlike its peers is Jerome Robbins Foundation. Resemblance is measured on each organization’s own IRS 990 mission text; it reflects how work is described, not its quality or impact.
Your grantees are a median of 36 years old; the field is 16. You back the established end — and your money leans older still.
The field is 20% startups (under 5 years old) — 1% of your grantees by number, and just 0% of your money.
The orgs you fund almost never close — 0.6% lost their exemption, against 11% of the field you don’t fund.
Age = years since IRS exemption (a founding proxy). “Closed” = auto-revocation for 3 years of non-filing — a floor on closure, not proof, and bigger established orgs lapse least. Association, not causation.
154 grantees tracked through their own filings, 2017–2025.
Each one resolved to its own IRS returns and tracked year by year — your grant beside their revenue from every source. Association, dated; never a causal claim.
Counted here: distinct organizations you funded across 2017–2025, not grant rows in a single year — so this will not match the grant count on the cover. 154 of the 323 grantees resolved in that span have returns of their own we could reconcile; the rest are funded organizations whose filings we could not track year by year.
Where your money sits — by cause, then by grantee
Showing your 200 largest grantees by grant value.
Each org by its size and your share of it — top-left is where you’re load-bearing
Go grantee by grantee — a decade per org, and how each moved after you funded them
A decade per grantee — revenue shaded, your grants as bars, all rows on one timeline.
- Who funds THE YOUNG MEN'S AND YOUNG WOMEN'S HEBREW ASSOCIATION ↗
- Who funds BROOKLYN ACADEMY OF MUSIC INC ↗
- Who funds NEW YORK CITY CENTER INC ↗
- Who funds JOYCE THEATER FOUNDATION INC ↗
- Who funds THE PERFORMANCE ZONE INC ↗
- Who funds LINCOLN CENTER FOR THE PERFORMING ARTS INC ↗
- Who funds NEW YORK CITY BALLET INC ↗
- Who funds JACOB'S PILLOW DANCE FESTIVAL INC ↗
- Who funds ALVIN AILEY DANCE FOUNDATION INC ↗
- Who funds WORKS AND PROCESS INC ↗
- Who funds GINA GIBNEY DANCE INC ↗
- Who funds NEW YORK LIVE ARTS INC ↗
- Who funds PAUL TAYLOR DANCE FOUNDATION INC ↗
- Who funds UNIQUE PROJECTS INC ↗
- Who funds NATIONAL DANCE INSTITUTE ↗
- Who funds BALLET HISPANICO OF NEW YORK INC ↗
- Who funds DANSPACE PROJECT INC ↗
- Who funds AMERICAN DANCE FESTIVAL INC ↗
- Who funds BALLET THEATRE FOUNDATION INC ↗
- Who funds DISCALCED INC ↗
- Who funds NOCHE FLAMENCA INC ↗
- Who funds DANCE THEATRE OF HARLEM INC ↗
- Who funds THE INTERNATIONAL ASSOCIATION OF BLACKS IN DANCE ↗
- Who funds THE FUND FOR PUBLIC SCHOOLS INC ↗
- Who funds MOVEMENT RESEARCH INC ↗
- Who funds BARYSHNIKOV ARTS CENTER INC ↗
- Who funds DOVA INC ↗
- Who funds BROOKLYN ARTS EXCHANGE INC ↗
- Who funds GALLIM DANCE COMPANY INC ↗
- Who funds FRACTURED ATLAS INC ↗
- Who funds LUBOVITCH DANCE FOUNDATION INC ↗
The grantmakers whose grantees overlap with yours far more than size alone predicts. Each orbits closer the stronger the alignment; the arcs between them show where they also fund each other. Here it reads as a tightly interlocked camp — most of these funders back each other's grantees too.
Open a dossier: The Howard Gilman Foundation Inc · Arnhold Foundation Inc · Mertz Gilmore Foundation · New England Foundation for the Arts Incorporated · Mid Atlantic Arts Inc · The Fan Fox and Leslie R Samuels Foundation Inc · The Shubert Foundation Inc · The Andrew W Mellon Foundation · Dance Service New York City Inc · The Hyde and Watson Foundation · Booth Ferris Foundation Xxxxx4008 · The Ford Foundation
Affinity is a Gamma-Poisson posterior co-funding rate, re-centered on the typical rate, so thin evidence shrinks toward no signal. A research starting point: overlap is association, not proof of shared intent.
Government reliance of your grantees
Every dot is one organization The Harkness Foundation for Dance Inc funds. Left–right is the share of its income from government; up–down is the share from you. Bigger dots raise more. Filter to federal or a single department — and drag the year to watch it move.
- Jacob's Pillow Dance Festival Inc — 1% of income from government
Government income is each org’s traced federal awards (USASpending — grants and contracts) plus state payments (open checkbooks) as a share of its total revenue (IRS Form 990); the self-reported government-grant line (990 line 1e) is carried for cross-check: a grantee that reports government grants we could not trace to a source is left off the chart rather than shown as receiving none. An association, not a claim that your grant caused the public funding. Coverage is precision-first — a floor, not a census; state records exist for 9 states, so a grantee outside them shows no state figure (dimmed) rather than a false zero. Federal award amounts are obligations, which can span years, so a single-year share is indicative. 990 filings lag 12–24 months.
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