On the waves: a new kind of surf in Rio de Janeiro

Surfmen are thus called young daredevils who climb to the roof of suburban trains in Rio de Janeiro, Brazil and vie with each other in agility and prowess, some of them often falling on the railway tracks and being killed. The practice started as a need to hang on anything outside the crowded train and became a sport of sorts. Even though repressed by the railway authorities and punished by fines and imprisonment, the practice has been going on since the eighties and developed into a competition with rules, code of honour, grading of achievement. It became a means of improving self-esteem as well as securing leadership and social prestige by people who otherwise carry on lives devoid of any charm or ludic stimulus. A substitute behavior, it results from processes of cultural elaboration at work in the youth culture of our cities.     

Challenges and Opportunities Facing Nonprofit Organizations

Books reviewed in this article:
Lester M. Salamon (ed.), The State of Nonprofit America
Peter Frumkin, On Being Nonprofit: A Conceptual and Policy Primer
Paul C. Light, Pathways to Nonprofit Excellence     

Public Opinion and the Role of Government Arts Funding in Spain

While several studies have probed the determinants of public support for government funding of arts and culture in the United States, little work to date has addressed the question in Europe. Yet as private cultural funding increases in magnitude in most Western European countries, the answer to this question has policy implications. This article formalizes the theory of the determinants of this public support in a model, employs public opinion data from Spain to estimate this model, and compares the results with those from the U.S. I find that support in Spain increases strongly with age, but is insignificant in most other variables. The article's empirical results yield several lessons for cultural policy design.     

A spatial analysis of candidate competition in dual member districts: The 1989 Chilean senatorial elections

This study uses empirical spatial theory to evaluate candidate and voter behavior in senate elections contested during the 1989 Chilean general election. The study evaluates whether senatorial candidates competing in dual member districts under Chilean d'Hondt locate near the periphery or interior of the electoral space. Spatial analyses demonstrate the Chilean senatorial electoral system is characterized by centrifugal forces. In particular, candidates of the right locate on the periphery of the space and face few incentives to pursue moderate electoral strategies. The study also characterizes bases of party and candidate support and the underlying dimensions of political competition. Spatial analysis reveals both change and continuity in the pre- and post-authoritarian electoral universes.     

Directional and proximity models of voter choice in recent US presidential elections

This note evaluates relative ability of the proximity and recently proposed directional variants of the spatial model of voter choice to account for candidate evaluations in US presidential elections contested between 1980 and 1992. I do this by estimating a statistical model that represents voter preference for a candidate as a weighted average of proximity and directional components. The analysis corroborates previous studies supporting the directional model, but illustrate that these results are sensitive to statistical specification. Alternative methodological specifications favor a mixed directional-proximity model and the traditional distance representation.     

A Question of Morality: Artists' Values and Public Funding for the Arts

In 1989, the combination of art, religion, homosexuality, ana¹ public dollars set off an explosive two-year battle and a decade of skirmishes over funding for the National Endowment for the Arts. To promote artistic freedom and to avoid political controversy, federal arts policy delegates specific funding decisions to private donors and arts professionals. In an era of morality politics—hot-button issues driven by deeply held beliefs rather than by expertise—that strategy no longer works. Artists, donors, and arts audiences diverge widely from the rest of the American public in their attitudes toward religion, sexual morality, and civil liberties, as General Social Survey data show. Delegating funding decisions to them has naturally led to some subsidies of art offensive to important segments of the population.